Creativity Money Love PDF

01 CreativityMoneyLove
www.creativitymoneylove.co.uk
CreativityMoneyLove
Edited by
Shelagh Wright,
John Holden,
John Kieffer,
and John Newbigin
ISBN: 978-0-9564298-7-2/First published in November 2011

Design: Project/www.thisisproject.com
Illustration: Paul Davis/www.copyrightdavis.com
Print: 21 Colour/www.21colour.co.uk
Supported by: Creative & Cultural Skills and A New Direction
03 www.creativitymoneylove.co.uk
Acknowledgments Foreword
CreativityMoneyLove is our shorthand expression CreativityMoneyLove has an important question at its

for the things we all need and want to be able to lead core – ‘what does the education and skills system need
fulfilling lives. Learning how to engage with them, to look like in order for people to lead fulfilled creative
value them and keep them in some kind of sustainable lives, and in order for the creative and cultural industries
balance is essential to us all. The contributors to this in the UK to thrive?’ It is a question that is currently
collection are all in some way experts in this balancing being asked by politicians and policy makers in different
act. They have given of their creativity for love of their ways, in respect to different sections of industry,
subject and care for the future of these ideas, and for as they search for levers to economic growth.
no money. Their time and wisdom has been contributed The aim of this publication is to give creative practitioners, employers and key thinkers
under creative commons licensing so that their thoughts a platform to express their views. Creativity as a concept is not an isolated part of the
education system. It has the potential to underpin the entire way we learn, in order to build
can be accessed by all and built on by anyone. more imaginative, innovative and thoughtful people who can prosper in a rapidly changing
We thank them and hope through their genuine world. It is vital therefore that we ask those at the forefront of their fields how they think the
system could and should be changing. We have asked people to consider education in the
generosity that we can contribute to the momentum broadest sense, from the school curriculum to vocational training, from university teaching
to informal learning.
for a better way of learning for the 21st century.
The opinions expressed here are not our own. Many are overtly political, controversial,
inspirational, and contradictory. We wanted to capture those views here, at this particular
moment in time, when some key decisions are being made about the future of education
We would also like to thank Creative & Cultural Skills (particularly Sam Mitchell) and in the UK. As two agencies that are in a position to take some of the ideas forward,
A New Direction (Steve Moffitt, Holly Donagh and Steve Woodward) for making this project this is an important part of the process of our own strategic thinking for the future.
possible with their support and willingness to take a few risks. And thanks also to the
designers of this book, Project, for their flair and creativity, and to Paul Davis for illustrating For A New Direction and Creative & Cultural Skills, the content generated through
as eloquently and lovingly as ever. CreativityMoneyLove will provide the stimulus for a range of conversations, interventions,
projects and discussions with young people, policy makers, employers, educators and
All work has been contributed under Creative Commons for terms please see: creative practitioners. The dialogue has started at www.creativitymoneylove.co.uk,
http://creativecommons.org/licenses/by-nc-nd/2.0/uk/ where all the pieces are also published online, and the bank of opinion can be added to.
Spread the word, and add your own article on the subject.
‘We’ are…
We four work in the creative economy and the arts as writers, policy-developers,
consultants – and do-ers. Synergies in our thinking, overlaps in our interests and networks
have led us to look for projects on which we can collaborate, for our mutual advantage
and because we believe the values and business styles of much of the creative and cultural
sector offer a way forward for the global economy. And let’s face it, we all need to find
a way forward right now…
John Holden, John Kieffer, John Newbigin and Shelagh Wright Catherine Large and Pauline Tambling Steve Moffitt
Joint CEO, Creative & Cultural Skills CEO, A New Direction
06 / CreativityMoneyLove 44 / Richard Green 82 / Greg Klerkx

John Holden, John Kieffer, Designing the future The case for creative
John Newbigin and 46 / Joe Hallgarten learning in hard times
Shelagh Wright From an EBacc to a MeBacc 84 / Miles Bullough
09 / Malcolm Gillies 48 / Justin Spooner and The sheep conundrum
One Solo Simon Hopkins 86 / Mark Emmerson
10 / Paul Jackson Bedroom shredders: Every school should be
Tomorrow’s world today Learning as circus a creative school
12 / Hasan Bakhshi and bear pit 88 / Deborah Curtis
Seeing the wood for the trees 50 / Kit Friend Why fairy tales?
14 / Ian Livingstone Why an arts degree really 89 / Puneeta Roy
The digital economy can is worth less than the LOVE – a curriculum on
thrive with a very affordable paper it’s written on human rights and education
investment of 5p 52 / Kate Oakley for peace
16 / Fintan Donohue Good enough jobs and good 90 / John Tusa
Experiential Learning enough workers It’s not just about the money
18 / Clive Gillman 54 / David Puttnam 92 / Pauline Tambling
I Give You Everything Creative learning Another way in
through technology
20 / Dave Viotti 94 / Trevor Phillips
The green goat 56 / Jonnie Turpie Creativity and education
Creative engineers
21 / Anra Kennedy 95 / Michael Wimmer
Extract 58 / Kaila Colbin Creative learning ... for the old
The gift of ignorance
22 / Stuart Cunningham 96 / Uffe Elbæk
Can creativity be taught? 60 / Sean Randolph Piloting chaos with integrity
– And why should it be? Economic creativity and inspiration
24 / Robin Millar 61 / Pat Kane 98 / Mark Compton
Courses for horses – Getting our playful Invest in your creativity –
the creative mix natures right get a job!
25 / Rory Sutherland 62 / Tom Bentley 100 / Martin Melarkey
Logic versus creativity? Creatures of habit Forging a new culture of
26 / Shona Wright 64 / Christopher Frayling learning for a digital age
The twelve Cs for learning Reading, Wroughting, 102 / Niel Maclean
in the 21st century – Arithmetic Making a solar system
beyond the 3 Rs 66 / Miranda McKearney 104 / Paul Durrant
28 / David Price The library as cultural enabler Schmidt, Leonardo
Moral compass for 68 / Rose Luckin and video games
the Commons Information plenty and 106 / Ellen O’Hara
30 / Tony Butler knowledge famine? A little more learning by doing
The value of taking notice 70 / Ben Payne and 108 / Phil Shepherd
32 / Alison Walsh Lucy Macnab The seeds of hope
From a ripple to a tsunami A cow that is also
109 / Daniel Michael Brown
a cucumber…
34 / Anna Cutler Don’t set yourself to formula
Making and measuring 72 / Geoffrey Crossick
110 / Shonagh Manson
difference The dangers of the
Not from the sidelines
discourse of skills
36 / Bob and Roberta Smith 112 / Sally Bacon
An open letter extract 74 / Paul Roberts
Freedom, fire and facts
Singing songs of expectation
38 / Gaylene Gould 114 / Paul Latham
Stories within the songs 76 / Camila Batmanghelidjh
One size fits all, fits nobody
There’s no divide between
40 / Darius Khwaja 116 / CreativityMoneyLove
love and skills
The human – So What?
operating system 78 / Nick Williams
Shelagh Wright, John
The BRIT School –
42 / Stephen Heppell Newbigin, John Kieffer
20 years on
A new renaissance and John Holden
in learning 80 / Lynn Foon Chi Yau
Arts organisations as
sites of learning
CreativityMoneyLove
John Holden, John Kieffer, John Newbigin and Shelagh Wright
The revolution is being televised: every day in the news Because so many of the
creative industries are riding
most marginal department
in Whitehall to being at the
We need an education
and training system that
we see radical changes being enacted around the the digital wave, indeed are centre of two of the biggest is fit for purpose in the age
world. It is also being digitised, and people are finding dependent on it for their
existence and part of the
news stories of the decade:
one about criminality and
of creativity. We need public
and private sectors to be
new ways of doing things for themselves. Two areas energy that drives it, it is in regulation in the media, working together to make
this sector that many of the the other about the a better future.
where change is happening at a frenetic pace are problems and opportunities consequences of riots
in the education system (in its broadest sense) and that are beginning to impact
on every part of our society
for the London Olympics.
Cultural questions are now
The Prime Minister recently
installed a Tracey Emin piece
the creative economy. This collection takes a look at are most apparent. at the heart of change, and in Number Ten. It is a neon
where these two fields meet, and how they interact. And because so many of
the creative industries are
the interconnectedness
of creativity, money and
sign that says ‘More Passion’.
We agree, because the
at the interface of economic love is becoming ever stakes are high. We have
In the introduction numeracy, narrow targets, is our shorthand expression activity and cultural activity, more apparent. invited passionate responses
to his 1999 report for exams and discipline – for the things we all need because they engage from a wide range of people
the government ‘All our all eminently suitable and want to be able to lead people at the most visceral The creative sector has from different disciplines,
futures: creativity, culture for Mr Gradgrind’s empty fulfilling lives. Learning how personal level and at the been a significant contributor places, and viewpoints to
and education’ Ken vessels. Even the term to engage with them, value most potent social level, their to economic growth (it is said the broad question: What
Robinson wrote ‘Education ‘apprenticeship’, suddenly them and keep them in strengths and weaknesses to account for 7% of the UK’s does the education and
throughout the world faces re-invigorated, has a some kind of sustainable can provide a glimpse into GDP) and social innovation. learning system need to
unprecedented challenges: reassuringly well-worn, balance must be at the core what the future holds for As a nation, and as look like for people to lead
economic, technological, Victorian, feel. of what each generation much wider swathes of individuals, we need to be creative lives and so that
social and personal… seeks to pass on to the our society. able to make the most of the creative and cultural
We argue that this means None of it acknowledges next. It is what keeps the economic and social industries flourish?
reviewing some of the the profound changes our societies dynamic and Across the world culture opportunities that creativity
basic assumptions of sweeping through our world. harmonious. Therefore they is playing an ever-increasing and culture offer.
our education system’. It’s worth recalling J K each demand some place, role in people’s lives. There
Galbraith’s observation some recognition, in the are millions more users of
Twelve years on, with on how governments and structures we put in place the internet and social
hundreds of billions bankers responded to the to educate our children and media every month, where
expended, much legislation Wall Street crash of 1929 to pass on the skills we go much activity is culturally
passed, and another entire – ‘Faced with the choice on acquiring throughout our driven. More and more
generation of young people between changing one’s lives. This should not be a people are making a living
having passed through mind and proving that radical proposition because from culture, and politically,
our education system, there is no need to do so, we instantly recognise it it is often cultural activists
there’s not much evidence most people get busy as true. Yet we fail to put who are leading protests
of that shift in assumptions. with the proof.’ it into practice. from Tahrir Square (so that
If anything, the response they can change their
from this government, As the title of this book So where do we start? government), to Kensal Rise
as from the last, has been suggests, our premise A good place to begin is (so that they can save their
to cling tight to the oldest is that we have allowed with the skills needed for public libraries). All of a
and most entrenched of concepts and values that the creative and cultural sudden, the UK Department
our collective assumptions belong naturally together industries because they for Culture Media and Sport
about education and to become divorced. are, in so many ways, has found itself transformed
learning – literacy, Creativity, money and love harbingers of the future. from being the smallest,
One Solo
Malcolm Gillies,
Musician and Vice-Chancellor of London Metropolitan University
What are you? Why are you here?

“You are what you eat”. Because you told me to,
So I learnt in biology. and it’s 3 o’clock. You
But the world is getting fat. have power. I have none.
And running out of food. Must I obey?
What are you? Why are you here?

“You are what you think”, Well, I have to be somewhere.
the philosopher smugly opines. If I’m not here, I’ll be there.
Can I ever know what you But then, there will be here.
really think? In fact, do you Boy, am I confused?
know yourself?
Education?
What are you? To eat better, think better,
“You are only what you be better
are, right now”, shouts the
exchange trader. There is no Education?
past. There is no future. Just To train, have a career,
the present. Your present value. find yourself
Who are you? Education?

Education Who, me? I’m BAMAPhD. To fathom people,
in the arts Because you are your time, place.
is more qualifications, in the
important directory of life. Life: A Know Play.
than ever. Malcolm Gillies © 2011
In the Who are you?
global I’m a musician. That’s what
I like to think, anyway. I dream
economy,
in sounds. I think through
creativity sculptured time. I am harmony,
is essential. and dissonance.
Today’s
workers Who are you?
need more Yes, you! Well, you are who you
than just are. Nothing more. Nothing less.
skills and Just you, without even your
knowledge clothes. Or your Blackberry.
to be
Why are you here?
productive I didn’t have any option,
and innovative honestly Officer. My parents are
participants to blame. They caused me to
in the happen. What choice did I have?
workforce.
Anne Duncan,
US Secretary of State
for Education
Tomorrow’s world today

Paul Jackson
Headteacher, Gallions Primary School, London
Excellence and enjoyment, We need to embed a Our education system be broader than the 3 ‘R’s. ‘It’s not that I feel that school
skills based curricular, lifelong love of learning. needs to be joined up, We need to find effective is a good idea gone wrong,
knowledge based curricular, To turn children on, to excite, truly collaborative. With ways of assessing children’s but a wrong idea from the
enquiry based learning ... to empower, to engage. schools at the very centre creative skills and their word go. It’s a nutty notion
everyone has their opinion of communities, becoming attitudes to learning that we can have a place
as to what we should be Our schools need to be hubs of learning with and to life and indeed where nothing but learning
teaching today’s children. vibrant, inspiring places. cradle to grave offers. their well-being. happens, cut off from the
But many forget that today’s Our teachers need to be rest of life.’– John Holt
children will not be adults just as vibrant and inspiring We need to grow confident, We also need to recognise
in today’s world, they will be and the opportunities that respectful, resilient, that with the invention of Our challenge is to turn
adults in ‘tomorrow’s world’, we offer our children need inquisitive individuals with new technologies that the schools into places where
a different place, with to give a rich, varied range the skills to adapt to the world is a much smaller more than learning happens;
a different set of rules, of experiences that are changing world they live in. place than it was a decade where children live to learn,
different boundaries, far-reaching and beyond ago and in ten years time, not learn to live.
and different opportunities. what the child has already On a very simple level, we it will be a smaller place still.
experienced. need to expose children to We need to use these
We need to educate today’s as many artists and creative technologies to expose
children for a world that We need to opens minds, practitioners as possible. children to the wider world,
doesn’t exist, a world that to offer opportunities So they do not see artists to learn from the very best;
we can try to imagine, but that enable free thinking, as people who paint very to apply and improve on
one that is unpredictable we need to encourage expensive paintings, but as what others have learnt to
and unknown. questions, encourage real people, people who they impact on their own lives.
children to make mistakes, can become, not just dream
Knowledge is now available to take risks. about becoming. Every Our education system needs
at the touch of a button, child should get to work to become a different place;
anywhere. A quick internet We use the phrase ‘to think with artists, dancers, actors, a place that values more
search and we can find outside the box’, but in musicians, authors, illustrators than SATs results; a place
out even the most obscure a recent ‘out of the box’ not once in their lives, that values everything about
facts. Even the skills to experience, some children but regularly. But equally, children and young people;
find the knowledge seem taught me that we need they should be given the a place that understands
to come naturally to most to stop using this phrase. opportunity to work with that while it is important that
children – I’ve seen five-year They told me that when solicitors, accountants, children have good basic
olds (including my own son) real learning takes place, painters, gardeners; for skills in English and Maths,
navigate the internet we need not to think outside them to see that successful the successful child has so
with ease. the box; when they learn futures are achievable, much more than this and we
most effectively there not distant dreams. need to work with the wider
So what do we need to truly is no box. world to understand exactly
equip today’s children with, There of course needs to what this is. Our education
not only for the creative and This is what makes the very be a form of assessment, system needs to be truly
cultural industries to thrive, best schools, the schools to know that children are outstanding and to do
but for all industries to where the sky is the limit, making good progress, but this, our schools need
develop and to succeed? where there is no box. what we assess needs to to stand out.
Seeing the wood for the trees:

The creative industries and the reforms to the education system in England
Hasan Bakhshi,
Director, Creative Industries in NESTA’s Policy & Research Unit
and Honorary Visiting Professor at City University
It is self-evident that for the creative industries: standing shortfalls in

all industries which are on the failure to address English education and in
ideas-based, innovative the demise of creative making more sophisticated,
and knowledge-intensive, computing from English evidence-based
including the creative education up to key recommendations for
industries, need creative stage 4, or on the education policy.
people to thrive. Creativity structure of the new
is, of course, nurtured English Baccalaureate Of course, this may seem
and stimulated in people which, unlike its international a very big ask for industries
in many ways, but the great counterpart, completely made up of busy (largely
institutions of education – ignores art. Why has small) creative businesses,
our schools, colleges and it fallen to Eric Schmidt, many of which already
universities – play an the American executive devote significant time to
essential role, not least chairman of the US giant schools through participating The evidence certainly of their silos and develop This is, perhaps, one of the
because young people Google, to remind us in open days, giving guest supports the view that more joint engagement strategies biggest lessons we learned
spend so much of their of the damage that English lectures and sponsoring effective engagement is and policy positions even during the Livingstone-
waking hours in these education does to the school competitions. In our needed. In the case of video on issues where there Hope skills review, where
institutions. creative industries by research for Ian Livingstone games and visual effects, is a great deal of common undoubtedly our strongest
forcing students to and Alex Hope’s Next Gen we uncovered extraordinarily interest. The education recommendations for
The big questions specialise prematurely in skills review of the video high levels of ignorance system is surely one such educators, policymakers and
Arguably, the reforms set out either science or the arts? games and visual effects persisting in schools about area and there is a very industries were developed
in the government’s schools We urgently need a wide- industries, we found that the needs of these good opportunity to address with bodies and learned
and higher education White ranging debate on how the a surprisingly high 46% industries and the UK’s this in the new Creative societies as wide and
Papers and its response creative industries can work of video games businesses world-leading position in Industries Council. varying as the British
to Alison Wolf’s review of with schools, colleges and claimed to have ‘engaged’ them. Only 3% of young Computer Society, Institute
vocational education amount universities to address these with schools, and that a big people, for example, But an important part of Physics, STEMNet and
to the most profound problems but, with one or reason why they did not do recognised that physics of the solution lies in the Teach First.
changes in generations two noticeable exceptions, more was because of time was one of the most creative industries building
to the talent pipeline feeding UK industry leaders have pressures. In this context, important subjects for video broader-based coalitions: The Institute of Physics
the creative industries. been silent on these issues. it is worth remembering games employers. School in identifying other interests, boasts 75% of physics
But there is a danger that that the video games and teachers were no better sectors and agencies teachers among its affiliates
industry is focusing its A need for new coalitions visual effects industries informed, with only 2% outside of the creative and around 3,000 young
efforts on lobbying for At a time when there are make their impressive recognising the importance sector that also need our people participate in its
what it can most easily major concerns that the way contributions to the UK’s of physics and 7% computer education institutions to Youth Membership Scheme:
influence, rather than government is approaching economic growth with science (against 44% who foster creativity; to use the what better way for the
what is most important. mathematics and physics a workforce of perhaps mistakenly singled out ICT). networks of these other visual effects industry with
may be at the expense of no more than 15-16,000 groups to engage directly its 5,000-odd workforce to
Take apprenticeships. creative education, the people between them. For sure, part of the solution with schools, colleges, engage with the 25,000 or
While it is important, of creative industries need to Industries as small – and as lies in building stronger universities and talent; so schools in England than
course, that the creative think of themselves less as fragmented – as these need alliances between different and to work with them to partner with them?
industries take advantage passive recipients for talent to think hard about how they creative sub-sectors. It is to develop robust and
of the available additional and more as active agents can more effectively engage ironic that industries which evidence-based lines on
funding for apprenticeships, in developing creativity in with an English education depend so much on creative education policy which,
this must not substitute for young people. The creative system in a way that is collaborations (and the trade as a result, are more likely
fundamental debate on what industries must play their sensitive to the commercial bodies which represent to reach the ears of
the education reforms mean part in addressing long- pressures on their time. them) struggle to break out policymakers.
14 14 CreativityMoneyLove
14 15 www.creativitymoneylove.co.uk
The digital economy can thrive with

a very affordable investment of 5p
Ian Livingstone,
Life President of Eidos, creator of Lara Croft and Tomb Raider,
and co-author of the Next Gen skills report
The first P is for as an essential discipline. So often foreign companies

It is the lingua franca of see greater value in the
competitive, innovative IP that is created in the
businesses. It is from the UK than we do ourselves.
The digital creative combination of computer The UK is arguably the most
industries in particular need programming skills and creative nation in the world.
access to finance in order creativity by which world- Witness the success of UK
to scale up to serve and changing companies fashion, music, design, film,
monetise global markets. such as Google, Facebook, TV, games and advertising.
Investors must learn to Twitter and Zynga were built. The UK receives the
understand the value of accolades, the Oscars,
creativity and digital content. The third P is for the BAFTAs for its artists
yet, more often than not,
The second P is for
the global revenues from this
Property in the sense most creative nation reside
of Intellectual Property. offshore. IP ownership builds
You can’t build a digital The UK excels at creating value, not work-for-hire.
economy with a nation of world-beating IP but is
digital illiterates. Creative The fourth P is for
not very good at retaining
digital content requires a ownership of it.
skilled workforce with an
understanding and Super-fast broadband is
knowledge of art and essential for both uploading
science. It is vital that and downloading content.
computer science is brought
into the National Curriculum The fifth P is for
For too long the creative

industries have been seen
as ‘fluffy’ and run by ‘luvvies’.
For too long, governments
have failed to support
content companies in the
video games industry for
fear of negative headlines
in the popular press.
Designers, artists and geeks
have come of age and
should be celebrated for
their creativity, innovation
and wealth creation.
Experiential learning:
How Further Education must foster a new generation of entrepreneurialism
Fintan Donohue,
Chief Executive of North Hertfordshire College and acting
CEO of Entrepreneurship4FE
I don’t think this is just require a significant change social media, event planning,
a temporary problem of in mindset and a new business management,
the economic downturn approach towards performance and other
and the subsequent partnership and leadership. aspects of being part of
shortage of jobs. Instead, This is not a cosmetic a startup business. People
over a longer timescale change to further education who undertake this type
of three, five or even ten but a transformation of of experiential learning
years, businesses will be the whole way in which are likely to come out much
looking for employees who we provide for learners more prepared to offer
understand culture, who can in the current and future something innovative to
add value to the business jobs market. One method a business, or to leap into
straightaway and come to of doing this in the creative self-employment themselves.
them with experiences of industries is to incubate real
working in industry and of businesses within colleges. Colleges need to be more
managing those businesses than skills supply lines
within colleges successfully. To give a simplistic example, and, in addition, they must
hairdressers are trained become incubators of
This approach is not easy within businesses in successful businesses that
to implement but there have colleges, but their role can compete directly with
been significant initial steps in that situation is largely services offered in the
taken for the creative to provide the product: private sector.
industries in this regard. in that instance, a haircut.
The initial change has been However, there are now Principals and senior
qualification-driven, with a few examples of colleges managers need to review
Creative Apprenticeships going much further than the industrial output model
showing the way in terms this. City College Norwich, of education and instead
of linking education to real for example, has an embrace the fact that
working opportunities. in-house live radio station colleges can broker new
Employers in many UK However, it’s important to which has a business model relationships with the labour
industries are struggling remember that there are that relies on commercial market. This is happening
to compete in a global 64,000 students studying partnerships in order to be in isolated pockets across
economy that makes creative courses in colleges. sustainable. This puts colleges, but we need to
increasing demands on the We have a challenge, learners at the sharp end of ensure that there is now
quality, price and ingenuity therefore, in terms of the programme but without a shift to a whole-college
of their product range. scalability, and this will the financial exposure in approach to solving these
Qualifications based only need more radical reform the real world. problems. Bodies like the
on knowledge and skills will if we are to create National Skills Academy
no longer provide employers opportunities for such In the creative industries, for Creative & Cultural can
with the supply of the large numbers of students. this could translate, for help to provide networks
creativity that their business example, into a dance and platforms for innovation
demands. FE colleges To achieve a shift from production venture in a to emerge from the outside;
will risk being marginalised a traditional education college, which links together but, as colleges, we also
if they do not reform and paradigm to a more media, hospitality and have to be willing to change
embrace the changes that experiential and creative learners to produce internally to progress.
these employers and the entrepreneurial model a sustainable company.
economy require. of learning, colleges will This would tie in aspects of
I Give You Everything

Clive Gillman,
Director, Dundee Contemporary Arts
I Give You Everything Containing 10 tracks, Give Me Life (Daniel attempting to rationalise this seemed like a good idea at
(Lisa Stansfield) this compilation CD was Powter) project on my own terms. the time. It at least made me
In 2009, I spent some time produced in a limited edition As a wise man once told me, As the other Karl Marx feel like I was testing an
hanging around the charity of seven and packaged economics is the translation (the composer) says, ‘There ethic which appeared to
shops of Cupar, a small alongside a signed unique of value from one location comes a time in your life me to be occluded by the
market town located right in print I had made (based to another; that it is the when you have to let go of euphoric sense of capital
the middle of the Kingdom on the images from the CD transfer of alienable all the pointless drama and wealth that was increasingly
of Fife. Cupar is a town that covers I had purchased) and significance from one owner the people who create it and being celebrated within
still just about functions, framed for display. These to another owner as part surround yourself with a field of activity that I had
with a selection of small editions were then donated of a trade. It is not the people who make you laugh believed to be answerable
shops and food outlets, back to the charity shops movement of money to so hard that you forget the to higher gods. That by
minor parking problems, who were then free to sell create more money. That is bad and focus solely on the tricking an object into
my dentist, a fine baker and them (or exchange them) usury – a practice that is a good. After all life is too believing it now possessed
seven charity shops. It also for whatever value they felt sin according to most major short to be anything but the boundless inalienable
has a further education appropriate. You Give Me religions and was pretty happy.’ I Have to Give You value of cultural experience,
college that teaches golf Something (Jamiroquai) much illegal in England until Back Your Freedom it could somehow be owned
studies and an interesting As an art project, it was 1545. It used to invite (Nicole) My own specific for a higher financial value.
annual arts festival, as well perhaps unspectacular, but capital punishment in the drama in this instance being I Can’t Give You Anything
as being the constituency as an attempt to express former Soviet Union and a performance of the value But Love (Peggy Lee)
base of MP and athlete some frustration around the in The Divine Comedy, of the magic spell that an Still, all the editions were
Menzies Campbell. inarticulate notions of value Dante places the usurers artist casts on the basest sold (or traded) and some
Give It Up (Gloria Estefan) that inform our everyday in the seventh circle of hell material – or, in this case, people told me they had
For three months, I browsed transactions, it had more alongside the blasphemers a Kylie Minogue song – to bought them, although
the shelves of these charity success (for me, anyway). and the sodomites. make it somehow different I never asked the shops
shops in an attempt to buy Songs about love, freely Quite a party. Give It To Me and, specifically, more how much they got for them.
up all the second-hand given, sold once, then given (Kylie Minogue) Talking to expensive. And perhaps That might have dented my
music CDs which contained with charitable intent to others about this led me more significantly, what the own deeply valued sense of
songs that related to a be resold at a lesser value, to find out that what I was limits are to this mystical moral superiority. Give Me
theme of ‘giving’. Amongst before receiving the magic beginning to gain was power, when the supply of Back My Heart (Dollar)
all of the Blue and S Club 7 fairy dust of artistic intent in effectively a Marxist cultural value is apparently
back catalogue that order to render them more perspective. That a deep inexhaustible (unlike more
provides the basic stock of valuable, possibly even more and rich philosophical vein conventional resources).
these shops, I eventually valuable (hopefully) than already existed in which all What U Give U Get Back
managed to find enough their original product price. these ideas were laid out to (Scorpions) Clearly the
songs to fill a compilation Perhaps it was ultimately form a set of conclusions charity shops of Cupar
which was lovingly little more than an attempt that – although robust – had were not going to severely
remastered as a new to render some value from been stained deeply by the challenge Christie’s for
CD entitled I Give You the vanity of artistic intent reactionary popular politics setting the standards for the
Everything. Some Gave through a proper high street of my youth – and that I was accretion of monetary value
All (Billy Ray Cyrus) retail experience. probably out of my depth in through artistic action, but it
The green goat

Dave Viotti,
Executive Director of the Westly Foundation, California
and founder of STAND Global, Little Bets Labs and Fuse Corps
In the first grade my father the blank canvas and to education more engaging
coloured a picture of a goat colour it in intuitively. and student-centered. They
in his art book with green Improv, like all the arts, allow students to experiment
crayon. He took care to allows us to connect with and try different pathways
color within the lines as told. our authentic, creative to learning (be it visual,
Still, his teacher gave him selves and opens the path auditory, game-based,
a ‘D’ because ‘goats aren’t to invention. Improv has or competitive).
green.’ From that point on, given me the inspiration
my father never thought of and skills to navigate in Arts education, not rote
himself as an artist. We are this conceptual age as learning, will also empower
all born creative, but by the an entrepreneur. our children with the Museums, galleries, heritage sites, archives, historic houses, science
time we’re finished with creative skills they need to centres, archaeological sites and their ilk are all places where the
grade school, many of us The crisis in education thrive in this conceptual age. extraordinary jostles for space with the everyday – our local community’s
have been educated out of in the U.S. has created Education policy and everyday or that of distant peoples and past times. They hold evidence of
it. We’re taught to conform space for innovation and a practice must keep pace craftsmanship, ingenuity, creativity and imagination, alongside that of
and strive for perfection. fundamental rethinking of with innovation and evolve to cruelty, horror and inhumanity. Just as valuable are their people –
For the past 150 years our how our education system encourage experimentation
education system has been can meet the demands of over perfectionism. Great curators, academics, scientists, artists, makers, researchers, educators,
based on a factory model. this conceptual economy. breakthroughs in social re-enactors and storytellers.
The Carnegie measures of Technological advances innovation for our world
seat time and standardised like digital learning (from will emerge when barriers There’s no arguing with the impact upon learners of high-quality,
testing at grade level drive interactive content on the to creativity are unlocked. meaningful engagement with cultural collections and knowledgeable,
compliance and left-brain iPad to the Khan Academy) It’s happening. Grab your creative people. The research is done, we know it works. So why is our
thinking at the expense make the path and pace of green crayons. world-class museums sector sidelined when it comes to formal education?
of creativity. This may have
served an industrial era Why are educational strategists not placing its collections, stories and
workforce, but it’s efficacy expertise at the heart of the educational experience? Why, when
fails at a time where technology makes collaboration and exploration beyond classroom walls
knowledge work has easier than ever before is that not happening as a matter of course? And
become commoditised.
We are at the dawn of a
why has the financial imperative to maximise the value of public
new conceptual economy investment in culture not yet come into play?
where technical know-how
is no longer sufficient. We need to embed cultural learning deep into curriculum delivery and
It must be complemented across the whole school experience. This is not about ‘downgrading’ the
by things like creativity, nation’s museums into a schools support service, or about squeezing joy
big picture thinking, and wonder from encounters with culture. It’s about providing inspiration
and context. and opening up opportunities to children and young people around arts
and heritage, raising levels of educational attainment, strengthening our
My parents encouraged cultural institutions and enriching lives.
me at a young age to get
involved in improvisation. A nr a Ke nnedy
From improv I learned not to
Partnerships and Content Director, Culture24
fear failure, but to embrace
An extract from a longer piece online at
Can creativity be taught?

And why should it be?
Professor Stuart Cunningham,
Director of the ARC Centre of Excellence for Creative Industries and Innovation,
Queensland University of Technology, Australia
Creativity is today’s ultimate Creators: from Chaucer to This account of creativity If we can say that creativity It is critical to delay hyper- This is not a matter of
black box, or perhaps Walt Disney, this notion of takes us beyond the ‘soft can and should be taught, specialisation in the upper dissolving disciplinary
a Rorschach blot onto creativity is a ‘painful and skills’ approach to what how can it be taught? years of secondary school specificity into a mélange
which there are projected often terrifying experience graduates need which we As the then President of and lower years of of fashionable themes and
innumerable meanings. to be endured rather than have seen in much high- the Council for Humanities, undergraduate education, problems (although at the
When academic Richard relished and preferable only profile business advocacy Arts and Social Sciences not simply by enforcing cutting edge of knowledge
Green reviewed the to not being a creator at all’. for a better matching of in Australia, I was zealous a broad range of subject we expect to find multiple
literature recently, he found curriculum to career. Such in advocacy of our 2007 choice but by creating emergent new disciplines),
so much variation that he But second-generation advocacy has been very research report Collaborating prestigious space but a pedagogical and
concluded the field was creativity focuses on important and soft skills are across the sectors. Based for problem-based research funding focus
‘so attenuated, extenuated, optimising the capacity very important. But now we on extensive qualitative transdisciplinary approaches. encouraging and enabling
or misunderstood that and potential of potentially can see that critical thinking, examination of the barriers At the postgraduate and transdisciplinary teams to
operationalising of the key everyone. It is seen as an communication skills, and to transdisciplinarity, research training end, work effectively on the big
concepts is missing or observable and necessary the ability to work effectively especially as they occur the capacity to bring issues facing us. Many, if not
impossible’. He tried to order component of all social and in teams which bring varying between the humanities, specialisations together in most, of a country’s highest
the field and constructed economic activity and is knowledge bases to bear, arts and social sciences dynamic transdisciplinary priority issues require
a profile of 42 models of focused on reworking and are all to do with the practical (HASS) and science, formation is equally critical, multiple disciplinary inputs
creativity which, when remaking rather then than business challenges of technology, engineering and reconnecting the different due to their complexity and
combined with assorted creation ex nihilo. The transdisciplinarity. medicine (STEM) sectors, knowledge modes. scale – and a contemporary
variations and typologies, social psychologist Mihaly it recommended some approach to creativity.
totted up 303 variables Csikszentmihalyi says it is The understanding of iconic moves: a national
‘no longer a luxury for the creativity is being summit on the problem;
Some order. The concept few, but…a necessity transformed from first the funding bodies to
of creativity needs to be for all’. It is, at least in to second generation – make collaboration across
simplified. Why not say that principle, learnable, in the words of evolutionary disciplines and sectors
creativity is problem solving? teachable and assessable, economist Carsten one of their priorities; and
This allows us to focus and its key is the ability Herrmann-Pillath, it is the creation of new panels
on what Erica McWilliam to work interdependently ‘an irreducible property of at all funding bodies,
(in The Creative Workforce: to address problems. a collective, the network’. specifically to deal with
How to launch young people At the same time, transdisciplinarity and that
into high-flying careers) This accords with the the requirements to recognises the real (usually
calls first- and second- contemporary perspective work collectively across higher) cost of doing
generation creativity. on innovation. For example, disciplinary knowledge collaborative work; and the
First-generation thinking in the 2008 Australian boundaries are being formation of an Institute
treats creativity as a Review of the National impressed upon us. for Collaboration. We drew
mysterious property that is Innovation System The contemporary some inspiration for this
serendipitous, an attribute (Venturous Australia, understanding of creativity from the UK’s National
of a class of exceptional chaired by Terry Cutler), is about the network effects Endowment for Science,
individuals that arises from innovation is understood as of transdisciplinarity. Technology and the Arts and
within. A fragile flower that ‘a virtuous and open-ended the degree of collaboration
withers under the harsh cycle of learning and established among its
environment of normalising responsiveness to new research-funding bodies.
classroom surveillance and challenges and possible
assessment. According to solutions’ and starts with
Paul Johnson, in his book creativity as problem solving.
Courses for horses – the creative mix Logic versus creativity?

Robin Millar, Rory Sutherland,
Record producer, arranger, musician and composer Vice-Chairman, Ogilvy Group UK
It is not wise to speculate extreme, almost all creative But there is no help for the There is an inherent problem Creative failures are ‘sins Logical people never feel
on possible interventions courses in the UK insist on self-taught singer who plays with creativity because of omission’, yes, but they the need to seek validation
in creative education with a performing element. a few chords on their guitar. creativity deals, almost by are no more expensive for of their conclusions from
assumptions based on For example, you will not They do not need to learn definition, with ‘what could that. The result of all this creative people.
a single type of person find courses in offstage more chords, they do not be’ rather than ‘what is’, it is is a dangerous primacy of
wishing to engage in the music performance skills need to learn how to mend very difficult to know when sequential logic in decision- No-one of the people who
creative or cultural sector which do not require the their amplifier – but they you are not being sufficiently making, since you can be spent £6bn on the High
as a way of life. Neither is candidate to play an may well benefit from creative; hence creative fired for being illogical, but Speed Rail link between
it necessary to avoid such instrument of some kind. voice coaching, theatrical failures are all too liable not for being unimaginative. London and Folkestone
speculation. Rather, one can This will exclude the performance skills, creative to pass unnoticed – and was ever forced to ask
create a graph relating to passionate non-creator writing tuition and social unpunished. If a government The result is what I call the the question – are you sure
temperament, along which who yearns to learn interaction: how to give an department overspends its ‘creative double standard’. you couldn’t make a greater
such people are ranged and practical skills to support interview. They will not find budget by £20m, there is If you have a creative idea, difference to passenger
treat intervention according performance or creation. a resource to advise them hell to pay – no end of you – perhaps rightly – have experience by simply
to where on the graph nor a course to assist them. recrimination, investigations to present it for evaluation by installing wi-fi on the trains?
they sit. A successful rock band The manager will benefit and reports. If, however, all kinds of rational people,
will need the obsessive, hugely from business a government department to see that it stacks up. If you think creativity’s
At one extreme is the truculent, ineducable and financial skills, advice underimagines a solution at BUT THE REVERSE expensive, you should
pure creator. Abstracted, singer-songwriter who on touring, international a cost of £30m, absolutely DOES NOT APPLY. try logic.
unworldly, obsessed, often strums a few self-invented relations, promotion, being nothing happens at all.
academically inept, gifted, chords on an old guitar; the an employer. But they will
impractical. The poet, the skilled and learned keyboard also benefit from an
painter, the composer. Few player and arranger; the understanding of lighting,
poets learn to drive a car solid practical drummer and recording, the creative
and if they do they will bass player; and, crucially, temperament and how
eventually crash whilst the manager – their to handle it. No such
gazing abstractedly out of classmate at school who programme exists which
the window. At the other end could not play a single note allows this crucial part of
is the prosaic arts lover who but who believed his friends a good managerial skill set.
may have no talent at all for were destined for greatness.
performing or producing In this example, the keyboard We are a long way from
art but may be intensely player, bass player and understanding how to
practical, driven, capable, drummer sit somewhere implement these mixed
intelligent and appreciative. along the graph not close approaches, but my own
to either end. They will find view is that a study of the
Neither of these extreme endless courses to hone foundation years in further
but vital talents is properly their skills and will most and higher education,
considered by Western likely appreciate training seeking input from
education. The pure artist in enterprise and business, employers and creators
is encouraged (or should financial affairs, practical to tune these foundation
we say discouraged?) by maintenance, music courses to attract the widest
educators and commentators arranging and more. All of range of those along the
pushing the value of skills, these skills will not only help graph, is the way to start.
entrepreneurship, social the band but will help give Exclude no-one.
networking, business studies these creators a life outside
and so on. At the other and after the band.
The twelve Cs for learning in the 21st

century–beyond the 3 Rs
Shona Wright,
Middle School Principal, International School of Geneva, Switzerland,
She writes here in a personal capacity
How do we prepare children for their future – Here’s an idea… Communication subject areas, but integrated of global issues, learn
not our past? Creating opportunities to experiences, seeing how how to have empathy
1 Embed the 12 Cs in all that learn through more than one ideas connect and how new for others and appreciate
How are we to be ‘hospice workers for the dying culture you do…in every interaction, language. The benefits are ideas emerge. Connections the interconnectedness
and midwives for the new one’? How are we to help our every day, every lesson… not just linguistic but in between ideas and of our planet.
young people to prepare for a world which we are increased cognitive ability, imagination, and this
unable to even begin to predict? How do we help them 2 Find teachers who are clear cultural and social awareness. is where it becomes creative. Curiosity
to develop the skills they will need to shape and navigate that this is their mission, are We need to enable students Einstein discovered the theory Where the questions are
their future? How do we give them the values they will passionate about what they to communicate in real of relativity by connecting as important and interesting
need to use the new technologies and their creativity contexts with others around his imagination with his as the answers.
do, are given meaningful
for the good of humanity? In such a changing world with the world to deal with real knowledge, lying under a
increasing xenophobia and economic uncertainty, how professional development to tree and imagining travelling Courage
problems and issues.
do we provide an education for understanding, reflection help them and the freedom on a sunbeam. Developing young people’s
and open-mindedness? to be trusted to deliver, Community ability to face unknown
while knowing that they Schools where every child Crowd situations with fortitude and
are accountable for it… is greeted by name and Using new technology to the moral courage to make
feels a sense of belonging; enhance learning and for real the right choices even when
3 Treat every child as if s/he where parents are partners reasons; Crowdsourcing to they are difficult.
were an amazing human in the learning process and link educational projects with
being, with the capacity to are regularly invited to school new business models and Cognition
do anything they choose… for information sessions social enterprises, modeling Helping students to reflect
and discussion groups; for students the ways they on the way they learn, use
The biggest ‘C’ of all is where partnerships will work in their future. their strengths and develop
Challenge. This one is for with local businesses their areas of weakness;
us… the hospice workers and organisations take Commitment where metacognition is an
and midwives. Can we let learning outside of school. Enabling students to build explicit objective. Schools
go of our paradigm and face up their resilience and their where the process of learning
the challenge of change? Culture perseverance by working on is as important as the product.
Real understanding of others projects that are motivating
comes from knowing them, and challenging, by learning Calm
from working on projects that that failure will be part of the Helping young people,
link our young people with path to success. in this world of permanent
those in different countries. connectivity and information
Part of this is creating the Confidence overload, to learn how to
opportunity to study through Where learning is about be ‘in the moment’, to
different languages… exploration and making appreciate thinking time,
can you really understand mistakes is part of the quiet moments, reflection
other cultures if you can process; where learning and aesthetic beauty.
only speak one language? how to fail is as important
as succeeding; where
Connections students take risks and
Learning is all about try out new ideas.
connections… Connections
between people: we can all Compassion
remember a teacher who Ensuring that students
made us excited about are involved with others
learning. Connections throughout the world and
between ideas: not separate come to a real understanding
Moral compass for the Commons

David Price,
Project leader for the Paul Hamlyn Foundation
and a Senior Associate at the Innovation Unit
a succession of moral In the classroom, this The factory prescribes competition in the
scandals affecting invariably means that what they need to know; system (everything from
establishment pillars teachers teach the exam the commons asks them International PISA tables to
including MPs, bankers, the first, the subject second what they are interested school exam results) makes
police, the media… Is it any and the child third. Teachers in learning. The factory has collaboration difficult and
wonder young people are know it and students know it. walls and fences to keep out drives creativity out of our
loath to take lectures from the community and to keep curricula. There is no better
those who appear to have In fact, what we need to in ‘the hands’; the commons example of this than the
‘made it’ when, in their eyes, do is to reverse that order. values learning in the English Baccalaureate.
they simply ‘have it made’? community, with school as
If the riots taught us the base camp for learning, Under so much pressure,
And what of education anything, it’s that we need to not the destination. The it’s little wonder that schools
itself? Aren’t schools restore the moral purpose of factory sees parents as are struggling to calibrate
supposed to be the place schooling. Kids see schools a nuisance; the commons their moral compass. But we
where students come to for the ‘exam factories’ sees them as a valuable can help them. As parents
understand the world they’ve become, so civic source of expertise and and voters, we can demand
and find their place in it? disengagement begins in as learning coaches. that our politicians allow
Perhaps in Matthew school. Disengaged students schools to prioritise
Arnold’s time, but the past are often portrayed as The idea of a learning creativity alongside literacy,
two decades have all been disruptive low achievers. commons isn’t an old- values-based curricula over
about what Michael Barber, This conveniently ignores fashioned one: the results-driven ‘deliverology’,
former education advisor to the ‘disengaged achievers’ characteristics I’ve just and a culture of collaborative
Tony Blair, delights in calling – the growing number who described are seen in the enquiry over cut-throat
‘deliverology’. Schools, know how to pass exams, phenomenal growth of competition.
whose performance but at the cost of being social learning and in our
indicators are exclusively turned off further and higher most innovative global Perhaps then we’ll have
focused around results and education for life – or what companies. School-as- students doing projects in
The aftermath of the summer My own analysis is that we efficiency, have become I heard one teacher describe enclosure (remember over and with our communities,
2011 riots in England saw have many young people in adept at gaming the system. as ‘radiator kids’: not 80% of schools block not setting them alight.
plenty of recrimination, but the UK who have become So long as the stakes being causing trouble but not access to the vast library
precious little by way of disengaged from civic tested remain so high, and contributing much either, of video tutorials out there)
education. The government society. There are complex so narrow, changing the other than keeping the is struggling even more with
decided, almost from the underlying causes of that rules simply results in ever room warm. user engagement, when
outset, that the cause was disengagement, but at least more sophisticated what’s available out there
simply ‘criminality’, without some of it, I believe, lies in strategies to bend them. My belief is that, if we is so much more immediate
offering an explanation as to a loss of confidence in the Some inspirational leaders want schools to help and exciting.
why so many young people adult world around them. manage to keep the higher young people to value their
would choose to become Consider the world from purpose of schooling visible community (rather than Learning is supposed to
criminals, many for the first their perspective: one in five to staff and students alike trashing it), schools will have be a non-rivalrous activity;
time. They also seemed young people is currently by doing the right thing. to become less like exam if I learn something from
disinclined to ask what might without work; in terms of Too many others, however, factories and more like you, you still have that
be done to prevent such a income, we live in the third decide that system learning commons. The knowledge and, in teaching
widespread, disturbing most unequal country compliance is the best factory model of schooling me, you may well deepen
breakdown in law and order in the developed world; course to take, so do talks at kids and talks that knowledge and learn
from happening again. recent years have seen the required thing. about them (to others); the something new. But the
commons ask them to talk. politically imposed
The value of taking notice

Tony Butler,
Director of the Museum of East Anglian Life (MEAL)
and Director of The Happy Museum Project
I grew up in Portsmouth, Formal education values years we’ll need adaptable,

a city sandwiched between concentration and diligence; skilful people. Workplaces
the sea and the countryside. gazing out of the proverbial or communities should be
My dad’s Welsh émigré window is discouraged. viewed not as a system but
family were seamen – Our increasingly urban and as collections of individuals
my mum’s, farm labourers. conformist landscapes make who can learn, teach and
I remember being impressed it more difficult for people to observe, and pass on and
by the way my grandparents look at the world differently. share with others. A notion
were able predict the Taking notice is an acquired of being multi-skilled should
weather or the behaviour of art, requiring time, practice not be restricted to the
animals or birds due to the and a good eye. I drive to possession of multiple layers
time of year or atmosphere. work every day, 20 miles of knowledge. A knowledge
They recognised the across the B roads of economy needs people who
slightest nuances of change Suffolk. I’ve tried to train my harness technology for
in the landscape or the sea. eye to observe difference. innovation, but these same
These skills – knowledge or This year I’ve seen 18 people might benefit from
bullshit (I was never quite ‘orphan’ apple trees on a closer understanding of
sure) – were acquired by the roadside or at traffic making, craft and the world
years of taking notice of the junctions; last year I’m sure around them. The future
world around them, whether there were only 15. workforce should have
they were on deck or web designers who also
fetching in the hay. To face the drastic know how to lay a hedge
environmental and social or engineers who can
challenges of the next 30 coppice a wood.
and supported places? If graduates
can’t get their next job on merit, the
system isn’t working. Training company
thinkBIGGER! spends the latter part of
the Channel 4 scheme aiming to equip
trainees for life as a freelancer in a highly
From a ripple to a tsunami competitive industry.
Alison Walsh, We need honesty and realism on all sides.
Disability Executive at Channel 4 Broadcasters and production companies
can put money where their mouth is
and show that disability adds to the
creative possibilities rather than making
life difficult or blowing the budget. But it’s
not helpful for disability organisations to
produce stats telling us most disabled
people don’t cost much to employ. Some
disabled people do require support, and
sometimes it’s expensive, eg, sign
that would allow new disabled language interpreters or a camera op for
talent to shine. Other new talent a director whose impairment dictates that
series such as Comedy Lab, they cannot self-shoot. These costs are
Coming Up and First Cut also not always fully recoverable from
provide essential rungs on the government Access to Work funding –
talent ladder for disabled people, and it’s getting harder in these cash-
and slowly at least some of this strapped times. We need government
talent is gaining a toehold in the to keep Access to Work topped up,
industry – directing, producing, supporting the companies that do the right
and supported work setting up their own companies. thing by encouraging disabled creatives.
placements. Maverick/
RedBird’s deaf series In addition to these broadcast Disabled people also need to play to their
Vee-TV employed deaf opportunities, from 2003 strengths – avoiding the roles or types
researchers, editors, onwards, working with our of productions that are going to make
directors and presenters. suppliers, Channel 4 introduced impossible demands if they have stamina
After six years, it was entry-level short-term or mobility issues, for example, or deciding
replaced with New Shoots, placements and, since 2006, against aiming to be a researcher if
a series of half-hour an annual Production Training deafness makes it difficult to spend all
With the shift away from documentaries which Scheme has offered six places day phone bashing, conducting tricky
specialist shows to more gave 12 disabled and ring-fenced for disabled trainees or sensitive conversations.
mainstream, incidental deaf directors their first working across everything from
inclusion of disability broadcast credit; then drama to documentary, sport to On the other hand it’s not helpful if
– across everything from The Shooting Party which entertainment. Channel 4 pays employers make assumptions about a
20 or 30 years ago, Big Brother, through followed nine disabled 50% of salary plus 100% of potential recruit’s impairment, if they don’t
specialist disability Location Location Location filmmakers as they each training costs. Graduates of the bother to assess their skills and strengths
programmes such as BBC’s and The Sex Education created a short film; then scheme have gone on to direct, first before discussing access issues,
From the Edge or ITV’s Link Show to all the major soaps Eleven Film produced the produce and production manage or if they move to new premises and
provided practically the only – the loss of those disability drama series Cast Offs, on a range of programmes. don’t make an effort to find a building
route into the media for series removed significant with a team including two that’s accessible or can be easily
disabled people. In these opportunities for disabled disabled writers and six All this – and the schemes adapted for wheelchair access.
somewhat protected people to develop disabled actors. offered by other broadcasters
environments, virtually programme-making skills. including ITV and BBC – has Channel 4’s plans to broadcast the London
any access issue could be Key to success was that, made it easier for disabled 2012 Paralympics include disabled talent
surmounted with the right So it was important to rather than hectoring indies people to get a foot in the door commitments on screen as well as support
support and adaptation. extend that on-screen to employ more disabled of the industry. What happens for production trainees behind the
I still remember The Sun mainstreaming spirit to people, quoting anti- next is crucial: will the company camera. We want the best of that talent
getting very excited about the development of talent discrimination legislation keep them on? Can they find to build careers beyond 2012. If all goes
the BBC training up a blind behind the camera. or slapping quotas on our a job on another production? to plan, what started as a ripple with
person as a director, Channel 4 did this productions, we used How does this new talent build Big Brother could become a tsunami
comparing it to BA training through a combination commissioned programmes a successful career without of disabled talent both on screen and off.
up a blind pilot… of commissioned series to create an environment the safety net of schemes Watch this space.
Making and measuring difference

Anna Cutler,
Director of Learning, Tate
If creative learning is enemies, that it can be In the pursuit of accounting Humans with feelings, by economics and public theories and better
the creation of one’s own difficult to see what’s going for the movement between thoughts, behaviours and accountability and it often questions built from the
ideas, or learning to create on at all. Yet if we do value two ideas, I turned to the points of arrival and leads us to fixed outcomes, practice of creative learning
one’s own ideas – or even this human generative mathematics of movement departure in any given because Y has to be a given itself. I think a good place
understanding that learning resource, how do we go in the form of calculus. situation, humans that are at unit of economic value. to start is to shift from
is the creation of new ideas about understanding how To my horror, I discovered a different point even from Measuring in this manner economic models to
– and if every human has creative learning operates that what calculus reveals themselves later on the guarantees a lack of ecological models of
the capacity to do this, or how creativity is created? is that every measure of same day. It seems that the difference, the very assessing the value of
then we are talking about And can we ever be sure movement amounts to an movement of human opposite of what we need creative learning. This
something very significant that this capacity will ever approximation: a ‘best difference is too elusive to understand about the would give insight into the
and complex. And we are be maintained and given guess’. I didn’t turn to to measure, even with the movements present within processes of learning rather
talking not only about value if we don’t keep a mathematics for best mathematics of movement. creative learning and how than its perceived outcomes,
something significant measure on activity and guesses and approximations! to establish the best which turn out to be nothing
and complex, but about a account for what causes I had rerouted in search of That said, measuring in conditions for its growth. more than approximations
resource that happens to the splash? a robust system in which the most forms for creativity and best guesses anyway,
be endlessly renewable. wonders of the world and and, indeed, learning, aside I’m not saying that public the big splashes which
In a world where such Complex learning requires human behaviour could be from those in academia, is accountability doesn’t actually veil, rather than
resources are required for complex analysis, but how captured in numerical order. based on economic models matter; it does, but right illuminate, and account
sustainability, are we not does one measure the I wanted a system that was that assume that counting is now, I’m not sure that we for the complexity of
also talking about something emergence of a new idea already trusted and valued possible. Policy wonks and understand what we are the creative learning
of fundamental importance? or the distance travelled and had clever professors industry professionals tend accounting for. We need taking place.
If we are, then we need from one idea to the next? involved who have won to measure creative learning to start measuring the
to get serious about it Measuring human behaviour prizes and who hold as units of X that are equal difference creative learning
and work out how we has never been an exact unquestionable status; to units of Y, instead of makes with different tools
want to nurture this science, to say the least, but a system I could pick up understanding what that are equipped to do so.
precious resource. there are indicators blinking and transfer neatly onto constitutes X and the range This means measuring value
away in learning that signal my own subject of enquiry of journeys that may take systems and ideas with
But, over the last ten that creativity is taking which sadly enjoys a us to Y or perhaps Z. a different kind of ‘best
years, creative learning place. In Signposting somewhat lower cultural Such accounting is driven guessing’ involving better
has not been afforded the Creative Learning (2006) status than maths.
importance it might have I tried to identify some of
been. Often it has been this blinking. I argued that But the problem with even
presented as the splash it was clear that experts this kind of measuring,
in Archimedes’ bath; rather across various fields have as with any measuring that
missing the point, if I may shared views on indicators involves counting, is that it
say so. It has so many worth the measure; but I tends to count things that
interpretations, meanings, have to ask why, then, have don’t actually count. It can’t
assimilations and so few (other) measures measure the complexity
resistances notwithstanding been taken? of a learning situation
its political allies and that involves humans.
Stories within the songs

Gaylene Gould,
Writer, consultant and coach at Writetalklisten
I remember little of what I Simple. It was a search for Story makers play with Most importantly, we can We, adults, need to take
was taught during my formal meaning. Childhood years, potential routes and just as easily teach young much better responsibility
education. All those facts especially teenage ones, outcomes, monitor variables, people that they can create for the stories we hand to
and figures learned by rote, are the most tumultuous cross out and rewrite. a whole new narrative path our young ones. We need
gone. However, I do have an we’ll experience. The rapid They are aware of risky for their lives and their world, to begin sharing stories of
uncanny memory for almost development between 10 dead ends but have faith in than accept the story they compassionate heroes as
every film, book, song and and 16 takes place over a their ability to find alternate have been given. demonstrated in the work
anecdote I watched, read short-six year roller coaster avenues. True innovators are of filmmakers Abderrahmane
and heard during that ride. It’s a crazy, confusing curious enough to challenge But without understanding Sissako and Thomas
period. This isn’t because hormonal soup of a decade and test the narratives how to do that ourselves, McCarthy. We could better
I was a bad student. On the over which the narcissistic that already exist. without taking the risk to contemplate the moral
contrary, I was one of the haze of childhood recedes They understand that such redraft our own stories, how complexity of choice aided
lucky ones. I could cope with to reveal our perceived stories are man-made do we expect young people by the work of debbie tucker
sitting for hours as various places in the world. and therefore can be to be so enlightened? How green or reflect on the grace
teachers pointed out a set No wonder we rebel. man-unmade. (Is it really can we ask young people of humanity as demonstrated
of facts entirely unrelated to true only Etonians are fit to develop a set of deeper in Lynne Ramsay’s
the previous set dispatched Stories are as important to govern the country while values if we clog the Ratcatcher. But first we
45 minutes earlier. to our newer generations a life of criminality awaits narrative airwaves with must choose to kindle those
as ever. A Nintendo DS council estate dwellers?) hundreds of hours of Katie aspects within ourselves.
Being a lonely child may might have replaced a Price, money-obsessed pop You see, the real potential
have fuelled my love of Reader’s Digest but the They are rigorous with their artists and vacuous of a creative education is
narratives. I’d draw the imperative is the same. research and take seriously teenagers from Jersey to not to train artists to make
curtains to protect the TV Video games allow people their responsibility, aware Geordie Shore. Adults a living but to train those
from the sun’s glare and to experience life as an that an established narrative lamenting the soullessness living to redraft our worlds
bask in the luscious world of Odysseian hero while our can create a measure for of young people is a little as creatively as artists.
a Hollywood matinee. I was real world offers us few people’s actions. rich (excuse the pun) when
last to bed after puzzling my such options. Young people it is adults, not children,
way through a Friday night who are most caught Surfing the online and that commission, inflate,
French film. I read everything between rocks and hard offline world, it is clear that fabricate, hack and green-
in the Reader’s Digests left places are our greatest the desire for creating and light such bleak stories.
lying around. I eavesdropped dreamers. They have to be. sharing stories has not
on my family’s swapped They throw themselves diminished but we seem Art can help us understand
memories of the Caribbean. into new realities through to be facing a crisis of the complexity between
Like most growing teenage the music they make in meaning. It is here that meaning and message.
girls, I’d religiously tape the their bedrooms and the true untaught power It makes us viscerally aware
Top 40 every Sunday and their personas on of stories lies. of how our external
listen over and over to the social networks. environment impacts our
stories within the songs. Stories teach us perception. internal perspective.
Call them what you will – They not only help us It can help us reflect on
Nobody knows where my stories, hypotheses, understand the world we consequence, (hi)stories
Johnny has gone. experiments, rumours – inhabit but influence the and responsibility. This is
these are the mothers of world we go on to create. what Tony Benn meant
Judy left the same time. invention. Every new They instruct our emotional when he said in an interview
economic, social, political triggers and affect whether that it is the work of artists
What made me such an avid and personal development we approach our futures that will survive, not the
consumer of stories? is a story created. with confidence or dread. work of politicians.
The human operating system

Darius Khwaja,
Co-founder of the London Centre of Contemporary Music
Creativity is the way our exam boards. A more with the ability to use Couple this with the of developed instincts.
mental and physical selves instinctive education positive and negative entitlement students have This presents a problem
run for the realisation of our system would focus criticism as the impetus to resit exams and failing for policy makers; the best
ideas. It is with this human on using problems to to improve. Their talent is is almost impossible. way to solve it will be
operating system that we encourage the use and not necessarily the degree I would suggest that only to use creativity.
have evolved from cavemen acquisition of knowledge. of talent but the ability to the unadventurous mind
pointing at mammoths to Practical approaches such identify and capitalise on perceives failing as bad; Upgrading the human
astronauts pointing at earth. as organising students into the talent that exists. I don’t suggest it is good, operating system.
teams to solve problems Finally, professional creators but it is an inevitable part
Our fundamental instinct or launch products and understand risk and failure. of life. ‘Risk’, or the ability Music, art, creative writing
makes us determined to services are excellent Creative output requires to assess the probability of and drama provide direct
survive. The realisation opportunities to refine our significant time and effort outcomes and understand ways to create: idea –
that collaboration improved instinct for collaboration with no guarantee of their consequences, is a pencil and paper – product.
our chances of success and should therefore play payment, let alone further vital skill. Our education Conveying our ideas through
produced language and the a fundamental role in work or recognition. system must not deny metaphor and abstract
ability to share knowledge. our system. failure, but deal with it image helps us develop
Add these ‘tools’ to the fact With all this in mind, constructively in an our intellectual capacities,
that trial and error is the Collaborative working is the I suggest that our current environment where, a quality equally relevant
intuitive human learning single most important skill education system is along with risk, it can to science and technology.
style and ask whether for us to develop in life. counter-intuitive. We have be experienced in If creativity is the human
our education system Placing it at the heart of an approach to curriculum relative safety. modus operandi, subjects
understands our species. our system is not suggested based on subjects defined that encourage its use
simply to simulate commerce by ‘learning outcomes’ and The fact that ‘education’ should be valued at least
I believe education should or force individuals into league tables that record is measured predominantly as much as knowledge.
help us appreciate that the moulds, but to provide the qualifications and by qualifications and grades The difference between
method we use to create students with a way of grades achieved by compounds the problems. science and the arts is in
everything from a submarine developing that allows them individuals, institutions Though grades rise the bodies of associated
to a song is a mixture of to identify their talents and and the nation as a whole. every year, is our nation knowledge, not creativity.
knowledge and skills, both interests through experience. In the pursuit of ‘quality’ more ingenious and
practical and cognitive. This applied approach would and ‘fairness’ could our knowledgeable? If we can Any demotion of music,
This questions the logic of augment the learning of (ceaselessly tampered with) only answer this by referring art, writing or drama in
delineating subjects clumsily knowledge, not replace it. education system have to the achievement of the curriculum is a risk
into ‘vocational’ (i.e. skills) or A more practical method may accidentally become a qualifications, are we not worth taking.
‘academic’ (i.e. knowledge). also be better at developing method for guaranteeing the actually mismeasuring
This distinction is overstated determination in young entitlement to certificates? our nation? For as long as
in education. people, including those who funding for education,
feel currently that education Students ask continually: be it by state or market,
Subjects are bodies of is separate from life and work. ‘what do I have to do to is linked to grades and
knowledge and though the pass?’ This question is qualifications, grades will
perpetual debate over what Professional creators are contrary to human instinct continue to rise with no way
constitutes a ‘relevant body intelligent and self-motivated: and one born of our of knowing if our nation is
of knowledge’ remains they need to ‘say something’ education system. Students’ actually better equipped for
meaningful, the crucial and understand that hard attentions have shifted life and work. Our education
point is that professionals, work is the only way to get from the quality of their system should measure us
academics and teachers results. They are self- work to a check list of on our ability to overcome
lead it, not politicians or confident and self-critical, rudimentary components. problems through the use
A new renaissance in learning

Professor Stephen Heppell,
CEO heppell.net, Chair in New Media Environments,
Bournemouth University and visiting Professor at Institucion Educativa SEK, Madrid
I graduated in the early ‘70s. Fast forward to the current had changed but the world treasonably dull PISA many heroic children daily This is not a counsel of
It should have been an era decade and things have around us is increasingly league tables of global challenge the morbidity of despair. As we have seen
of mass factory education, changed but, bizarrely, filled with dramatic surprises school performance look a system built around its own in Egypt and elsewhere,
following the post-war baby despite the reduced pressure and the unexpected. We face currently the least likely to processes rather than to set technology has first given
boom. At one stage, that era on numbers, education has a constancy of change, have the capability to react learners’ imagination and individuals a voice and then
saw a new school opening moved towards mass the certainty of uncertainty. rapidly to an unexpected ingenuity alight. As an enabled that voice to be
daily in the UK. Every school standardisation and This is largely a by-product event, or to invent the next example, a majority of aggregated and amplified.
had near identical galvanised uniformity. At university level, of technology. It allows us to YouTube or iPad. children report their main Children, employers and
steel windows. Yet when my and elsewhere, there is now live dangerously: to drill oil at ‘learning’ activity to be parents are reaching the
partner was in the second a detailed mark scheme. depths where we can’t mend How did this happen? Did replication: copying from point where a ‘pedagogic
year of her degree, her whole To achieve a first-class leaks, to pare the margins someone decide that original a board or from worksheets, Egypt’ is not just plausible
faculty were given a day’s degree, one’s output needs on banks’ loan security. thought had no value? Was taking dictation – yet – it is likely. If education
‘holiday’ in celebration of the to match precisely the The consequence is that replication placed ahead of ironically, when those same is looking perilously like
unexpectedly creative finals content anticipated by that the slightest upset can origination? Clearly not, children complete their a structurally declining
paper of a third-year mark scheme. To a very large precipitate a chain of or our art galleries would homework tasks by copying industry, society has
undergraduate. Professors extent, it has to be the least significant, unanticipated be full of carefully preserved from Google searches, it is embraced learning as über
were literally running down surprising essay of all to events. Individual errors are photocopies. In fact, for the seen as cheating! Education cool. The media are full of
the corridors in excitement be proclaimed the ‘best’. magnified hugely with public, the opposite seems to remains the only place people learning to cook,
and gushing, ‘We didn’t In schools, the pressure of unexpected consequences: have happened. The carefully where, by ringing a bell, learning to dance, learning to
expect this!’ The fresh- high stakes testing and the a catastrophic oil spill, a created ‘perfect’ studio we might expect 1,000 learn. Whole genres of new
thinking student was accompanying league tables global economic disaster, recordings from the music teenagers to be media – such as reality TV
awarded a rare first-class have led to similarly riots in London. It won’t stop industry have been spurned simultaneously hungry. – are built on the ambiguity
degree. Everyone was prescriptive lesson plans happening and it seems by a young generation who It is systemic madness. of presenting dull and D-list
inspired by the whole event. with a generation of coasting self-evident that if our value, and pay highly for, the stars with unexpected
children asking, simply, ‘Is it learners are to be ready to fresh experience of a live It is, however, not only the circumstances and watching
Despite the mass expansion on the exam paper?’. cope with these dramatic performance but freely youngsters crying ‘enough’ them cope. Process has
of education, originality and The fresh and creative ideas events, they must have exchange and place no this time. A slew of reports replaced product as the
fresh thinking were valued of 400,000 teachers and evolved strategies that value on mass replicated – for example, the IBM focus of our curiosity. It is the
and celebrated. Indeed, when their 9 million students have prepare them for the pre-recorded copies. survey of 1,500 CEOs in beginning of a new
I was teaching during the ‘70s had to defer to the opinions unexpected. They need to The music industry might see 2010, or the Livingstone- renaissance in learning; but
and ‘80s, it was still the case of single education ministers. be challenged and surprised this as a gross infringement Hope report Next Gen for sadly, education doesn’t look
that staff rooms would debate In less than 40 years, we daily. If we astonish them of copyright but others see NESTA – all make a powerful likely to be around long
and try new ideas. Not to do have moved from rewarding in their learning, then they it as an encouraging breach case for students who can be enough to learn from it.
so was to be left behind as originality, ingenuity and will evolve the capacity to of a cartel that sought to creatively disruptive, who can
we learned how to do creativity to rewarding astonish us back. Sitting in standardise originality. heal the compartmentalisation
education better. RoSLA – conformity and uniformity. an exam hoping that there Live music is flourishing and of subjects like art and
the Raising of School Leaving Indeed, I doubt whether that are ‘no surprises on the evolving. The mantra to chant computer science, who can
Age to 16 in 1972 – and celebrated fresh-thinking paper’ does not sound like here is that people plus score highly on innovation,
TVEI – the Technical and first-class honours graduate preparation for our world technology breaks cartels. who can alter the status quo
Vocational Education Initiative of the ‘70s would have of uncertainties. Indeed, and be comfortable with
in 1982 – were major even been allowed to it is a complacent preparation Fortunately, of course, ambiguity. Currently, not only
initiatives leaving teachers graduate today. for economic disaster, education is also an are schools failing to foster
to discover and exchange to sit alongside the social enormous cartel. and nourish such individuals,
radical new ways to teach. Now, this would already be and intellectual one. Systemically, it too is hugely but many are actively
They weren’t told – they were a social and intellectual In confirmation, the top out of step although some excluding them!
asked what might work. catastrophe if nothing else half dozen nations in the wonderful teachers and
Design and
Technology
was introduced
as a statutory
Designing the future subject for all
pupils from ages
Richard Green, 5 to 16 in the first
Chief Executive, the Design and Technology Association National Curriculum
in 1989. It was a
visionary move taken
by the then Secretary
of State, Kenneth Baker,
and, in the 22 years since
then, a huge amount has
been achieved. The subject
provides young people with
the opportunity to be creative
and to look to the future; to
design and make products and
services, using a range of
materials; to make design
decisions that matter to the users
of those products and services and
to the wider world; to draw on a wide
range of knowledge to solve problems
in relevant, real-life contexts; and to
develop an enterprising attitude and to
take risks. It is a hugely challenging
and motivating subject that can lead on
to employment, FE or HE and to craft,
technician or graduate-level careers.
However, the current review of the National

Curriculum potentially puts at risk these
major advances, which are the envy of many
other countries, and there is a possibility
that the subject may lose its statutory status.
Another threat comes in the form of the newly
introduced English Baccalaureate which does not
include a technical, creative or practical
subject. Many schools are adjusting their Key
Stage 4 curricula to ensure EBacc league table
success – and for many students, this will mean
fewer opportunities to study D&T at GCSE.
With the significant skills shortages that exist in the

creative, manufacturingand engineering sectors, I believe
that D&T in primary and secondary schools has a vital role
to play in sparking the interest and enthusiasm of young
people to work in these areas which are essential to our
economic recovery and growth. If we are to build on the
educational achievements of the last 22 years, we must,
firstly, retain D&T as a National Curriculum subject; secondly,
review and modernise its content in collaboration with the
relevant sectors of business and industry; and thirdly, provide
teachers with a comprehensive and coordinated professional
development programme to help them introduce these changes. It will
be a challenge, but it is a challenge we cannot afford to duck.
From an EBacc to a MeBacc:

Assessment for creative learning, living and loving
Joe Hallgarten,
Freelance educator, policy analyst and programme leader
Whatever our worries about underpins or undermines introduction of an English The EBacc has a particular courses? This is a partly stolen idea.
coalition policies, let’s be the liberties that schools Baccalaureate as a ‘gold reasonable rationale, What am I planning to do Kingstone School of
grateful to Mr Gove for one might enjoy. standard’ for students. misapplied. Some next with them? What are Creativity in Barnsley
thing: his General Motors Although Gove claims that academically able students the skills and interests that has run a successful
approach to education This is not an attack on the EBacc should not limit are given poor advice about I am developing outside ‘assessment for living’
(‘what was good for me is assessment. At its best, choice, he is too canny not course options, hugely of school, formally programme for five years –
good for everyone’) has assessment is a wonderful to realise the consequences reducing their chances of or informally? culminating in an alternative
mobilised a national debate part of the creative process of the publication of this a place at a Russell Group parents’ evening where each
about the purpose of we call learning. It enables data. Some GCSEs are now university. They are not the Each young person would young person presents to
learning. The previous reflection and critical more equal than others. only ones. The Wolf Report need to show some clear peers, parents and others
government, despite analysis, offers an external argues that many young ambitions for the future, on their progress and
the rainbows and manic eye and helps students Even more depressing than people choosing vocational not only career related, future plans. Headteacher
policymaking, never really understand where they the EBacc has been many routes are being guided and demonstrate creativity, Matthew Milburn aimed to
got this conversation going. are and how to progress. schools’ reactions to it, towards qualifications that reflectiveness, meta- ‘create a curriculum and
Despite teachers’ best rapidly changing options nobody values. The EBacc cognition – all of the skills assessment process that
Central to this debate has intentions, various political regardless of students’ is a partial solution to a we know are crucial for genuinely nurtures human
been some new-old thinking and managerial forces have interests; and the responses much bigger problem. success in 21st-century development and enables
about assessment. The way turned assessment into from various interest groups, societies, workplaces young people to come to
in which pupils are assessed a reductive shell of what campaigning for their subject My alternative proposal is and relationships. terms with who they are and
and subsequent data-driven it could be. be included, rather than for a baccalaureate which how they relate to others.’
judgements made on schools challenging the legitimacy supports all students, not This work would then
are the most important Of all this government’s of a flawed concept. only the most academically be assessed through a A MeBacc could formalise
control mechanisms of all. proposed changes to The RE and music lobbies able, and also brings others presentation process that this process, giving it a
Regardless of rhetoric about assessment, the most have been especially vocal. into the assessment involves peers, parents, national status that
freedom, it’s assessment that controversial by far is the process: a MeBacc. teachers and an external employers, colleges and
The idea deliberately goes assessor: someone from universities would value.
with the grain of current within or beyond the local
assessment processes. community who, if possible, Look out for the interviews
More radical alternatives has some expertise in that with parents in Kingstone’s
rarely gain sufficient young person’s possible film. Watch their eyes and
currency across a critical career path, and might have body language. They know
mass of schools. time to mentor them. In and love their children like
many ways, this meeting no others can. A MeBacc
To gain a MeBacc, a student would resemble a PhD viva. could harness that love
would need to gain 5 A*-C A 16-year-old would need and the love of others –
or equivalent (with proper to defend his/her ‘thesis’ whether love for the student,
rigour over what is really about her future and how the subject matter or the
‘equivalent’) at GCSE, to get there. Yes, it would future – and thaw out an
including English and maths. consume time, and would assessment process that is
require a voluntary often unnecessarily frozen
In addition, each student commitment from thousands and harsh. As Rinaldi has
would need to create one of parents and other adults. argued, a meaningful
or more artifacts (an essay, But the process would assessment process is
film or other product) which also create energy from itself an ‘act of love’ .
justifies learning choices. existing expertise.
Why did I take these
Bedroom shredders:
Learning as circus and bear pit
Justin Spooner and Simon Hopkins,
Unthinkable Consulting
Over the last three years of course gives rise to the but we think its role needs collaboration with peers, audience and call for useful How can we build on the
we’ve been showing clients possibility of sharing that reconsidering. We think that creating his own material, responses that will be natural pleasures this
like Glyndebourne, the improved expression all the best kind of showing off embracing his own role responded to – not learning situation presents?
Barbican and the English over again. is the social activity that can as online teacher, and necessarily in text but often
National Opera YouTube amplify our own desire to finally forming a band with a new practice video. How can we facilitate an
clips of a young Spanish A major benefit to this learn, and that the right kind characterised by his own enjoyable platform for
man, Achokarlos, sitting circular style of learning is of showing off allows us to staggeringly virtuosic, It used to be that the web, showing off?
alone in his bedroom playing that it not only allows failure convert our private pleasure, exuberant and very by dint of the constraining
along to extreme heavy and imperfection into the curiosity and desire for personal style. effects of bandwidth, was What is the quickest route
metal by the likes of process, it makes that self-improvement into a a place only for the written to learning in this situation?
Meshuggah and Deicide. failure a positive and powerful social currency. This style of learning uses part of our thinking. To learn
instructive lesson. much more of ourselves from the web one had to How can we make failure a
www.youtube.com/user/ Achokarlos’ mission is than the solitary reading of read; that wouldn’t help very useful feature for all?
achokarlos Pay attention to the to advance his shredding a text on a given subject. bedroom shredders much.
comments thread on any technique. For those out It often happens in the In a highly textual culture How can we use competitive
Now really, why would given shred clip. OK, so of that particular loop, format of a conversation like ours it is easy for us to motivations to strengthen
we do that? the language is somewhat shredding is the art of or collaboration. It is often forget just how inappropriate ideas exchange?
robust, not to mention extreme showing off in referred to as embodied the written word can be for
We think that the approach profane, but look closely guitar music. While it has learning; it works best when many learning experiences. How can we make use of
to learning that the and you’ll see that there’s antecedents in music as the body and brain become non-written thinking and
14-year-old Achokarlos a real encouragement going diverse as bluegrass and part learner, part teacher, But now that bandwidth has expression in this project?
embarked upon three or on, albeit a challenging, Hindustani raga, it is now part analytical tool, part opened right up, so also has
four years ago tells us a lot competitive one. Do the most closely associated emotional response system. the web’s facility to become How can we make
about how we should ‘dudes’ in this ad hoc with metal, itself the most the storehouse and participants’ own curiosity
approach our learning- community consider exacting, precise and Instead of learning from a connective tissue of and desire for self-
based work. themselves peer mentors? virtuosic music ever source that doesn’t require non-written expression. improvement the driving
Of course not, but the conceived in the name of interaction, embodied We need to make use of that forces of the project?
Great learning environments results of their commenting entertainment. Shredding learning requires us to full capability when we plan
have a feedback loop at the are compelling; we’ve is more circus than art. use all that we have in to use the web as a learning How can we convert private
heart of them; powerful watched kids progress As such, shredding on order to develop, pay tool that can do something curiosity into something that
personal motivators such as at a rapid pace in this one’s own is pointless; attention to others, learn entirely different and often in can be publicly traded?
the desire to improve oneself environment – faster than it requires an audience. from our mistakes, filter parallel with formal learning.
or the curiosity to discover many of them would have And YouTube has provided feedback and create How can we create an
new ideas kick-start the done in a conventional an international platform constructive responses. OK, so how can we make environment in which it’s
process. These motivations learning environment. for bedroom shredders. use of any of this? Well, socially acceptable to
are then amplified if a social What teacher would possibly Achokarlos’ videos work as the lessons learned from improve each other’s ideas?
space exists in which that use the kind of language Learning as circus; learning a documentary of embodied Achokarlos and his fellow
new-found knowledge or being used here? But as bear pit. It may not suit learning; they form a public travellers have led us to
advanced technique can then what teacher would everyone, but then neither conversation in sound, ask some of the following
be shared. In turn, the endorse showing off does school. For what it’s music, physical technique questions when interrogating
responses garnered from so enthusiastically? worth, we’ve seen and text. They require the the learning projects and
that ‘audience’ to one’s Achokarlos progress critical assessment of the strategies on which we work:
sharing can help the learner Showing off is often exponentially through the
quickly assess their thinking shunned in our culture as last three or four years.
or playing style; the ‘student’ a selfish act, an essential He’s moved from proficient
makes improvements, which practice of ‘me’ culture, covers through to online
Why an arts degree really is worth less

than the paper it’s written on
Kit Friend,
Founder of the creative students’ lobbying organisation The Arts Group, works for a global technology
consultancy specialising in Media & Entertainment, and is a member of Conservative Future
For the creative industries the sector is such that (even is passed onto the person
to thrive, from the first based on pre-recession buying theatre tickets,
scribblings at playgroup, figures) Arts graduates can paintings, or whatever their
to the most sophisticated expect an earnings premium product is. If there is no
innovations of our Masters of less than £35,000 over market to pay for the
students and beyond, we an entire lifetime, compared business to operate legally
must ensure that all those to their peers with no and pay its staff, it is entirely
with the innate talent and equivalent qualifications . legitimate that business
potential are able to access Factor in the actual cost of should not survive.
careers in our sector the education to date, and
and flourish. the average creative doesn’t Businesses that do not
just fail to benefit fiscally pay legal minimums are
Whilst there are any number from years of training, their competing unfairly with
of things that might be done livelihoods will actually be legitimate employers who
to improve the experience damaged by it. are following the law.
our proto-creatives have in This unfair wage practice
classrooms and studios as The tragedy of this is lost on inevitably suppresses the
they progress up the chain, too many creative industries value attributed to our
for far too many, they will employers. They cite interns labour, and produced the
never even set off down the that spend a few months bizarre range of models
path. Parents up and down cutting their teeth at various for wages (or lack thereof)
the country have advised companies, who enjoy the we see today – from actors
their children (probably in experience enormously. promised ‘profit shares’
the millions) not to study the These overwhelmingly to the systematic abuse
arts as it offered no secure middle-class interns may of ‘internships’. Employers
or fiscally rewarding careers then go on to enjoy a career must be held to account for
even after years of dedication where they will earn less destroying markets like this.
– the trouble is that they’re than they could in any other It is a vicious cycle which
both right, and our entire sector, perhaps going on to undermines the health of
sector conspires to continue exploit more unpaid workers the sector, and in many
to make this the case. in the misguided belief that cases creates a dependency
because they learnt this way, on subsidy.
It is now broadly accepted, their successors should to.
and experienced, that How can our education
the creative industries Any creative endeavour is system change to support
‘recruitment’ methodology a business. An arts employer the creative industries?
relies upon an extended is still an employer. Right now the first criteria
period of unpaid work (in They must accept the for participation in the arts
practice, entirely illegal by responsibility that all is an ability to work for free.
even the most basic of businesses in this country Imagine how competitive
minimum wage law accept: they must make our sector would be if
interpretations). The impact enough money to pay the criteria was talent.
of this and the aura of their employees the legal
low-pay or even no-pay in minimums. The cost of this
Good enough jobs and

good enough workers
Kate Oakley,
Head of the Centre for Cultural Policy and Management, City University London
and visiting Professor at the University of the Arts London
At this point, a longer of honour, rather than as but by creating a market for
conversation ensues about evidence of failure to keep unpaid work you are helping
what it is the young person work within its proper to exploit others. And the
is determined to do, what bounds. The role of ambition implication of that unpaid
deal they are being offered, and the desire to get ahead work for class and ethnicity-
and what other choices is a common enough part of based exclusion is obvious
they have. What is often human nature; but that for all to see.
missed in conversations doesn’t mean it should be
about their dream, their uncritically celebrated. An economy that is producing
determination, and their far too little work and where
willingness to sacrifice The history of the labour graduate unemployment is
themselves, is what one movement and the struggle rising, is a place of very hard
might call a healthy notion to put boundaries around choices for students in
of the place of work in life. work is often unknown, higher education. It is an
And it seems to me that it or regarded as a complete unpromising place to hold
is that conversation, not irrelevance. Yes, the fact a conversation about good
another one about creativity, that our forebears, – in work. But if education is
entrepreneurship or even conditions of much less to mean anything beyond
cultural consumption that material wellbeing than the instrumental it is
needsto be happening many people live in now, – a conversation we all
in the education of fought to establish paid need to have.
young people. holidays, sick pay and some
Many of us who work in dangerous, difficult and combination of pleasure, level of workplace security,
education, working with the anti-social forms of work. glamour, the chance to work The possibility that there seems to me entirely
graduates that will staff the While forms of gross in what might otherwise be might be other ways to get relevant to a conversation
cultural industries, would exploitation are, of course, a hobby, and the possibility of the same sort of satisfaction, about interns and unpaid
see it as our role to produce a feature of cultural labour doing something meaningful, that there are other types of work. The role of unions like
critical practitioners. markets – particularly in provide, understandably work that might be the NUJ in pursuing the
This means not only having manufacturing – this is not provides, a huge draw. interesting, or that getting ‘cashback for interns
the skills and knowledge the experience of most UK a good job is just one part campaign’ is garnering
required to follow this type graduates. But difficult, Which is why the following of a good life, is too little some useful attention,
of work, but an ability to dangerous and anti-social conversation is all too typical. discussed. Instead, students but, when discussing it,
reflect on that work, their forms of work, from mining Student: ‘I’m being offered are often subjected to a sort a depressingly common
role in it, and its place in to care work to refuse an unpaid internship for three of ‘motivational speaker’ response is, ‘why shouldn’t
society. But what might collection, are rarely months in a gallery.’ Teacher: approach, where someone I work for free?’
this involve, particularly held up as exemplars ‘Have you done any who works in the cultural
in a workforce where of desirable work. internship before?’ Student: industries is brought in to Though unpaid internships
opportunities and conditions ‘Yes, I did two when I was an tell them that if they are have clearly become a
are appearing more and Joining the creative undergraduate, and one more not ‘110% committed,’ or political issue of late, the link
more problematic? industries, however, is the this year. I can’t really afford ‘passionate’ or don’t wake between self-exploitation
goal of many young entrants to do another one, as l’ve got up every day thinking about and the exploitation of
This is not to suggest that to universities and colleges. debts, but I don’t want to give their work, they won’t make others is often under-played.
jobs in the creative and Not necessarily because up my dream. I’m determined.’ it. Practitioners, – and, ‘Should I take unpaid work?’
cultural industries are, they seek celebrity and indeed, academics, – is a legitimate question, but
by most measures, bad jobs. fame – although some frequently wear tales of their so is the answer ‘no’. Not
There are many more might – but because the own overwork like a badge just because it exploits you,
Creative learning
through technology
Lord Puttnam of Queensgate,
Chancellor of the Open University, Chair of FutureLab
and Sage Gateshead, and UNICEF Ambassador
For the past few years, The events of August It’s somewhat the equivalent what a major, positive
I’ve argued that, unless 2011 should have made it of putting the man with the ‘disruption’ in learning
we’re prepared to become clear that the task of winning red flag back in front of and teaching might look
significantly more creative back the trust and respect each automobile and simply like; that’s to say, what
and imaginative in the of an entire generation is encouraging him to jog a advances could a bold
way in which educate young a desperately urgent one, little more quickly. In truth, and enlightened ‘digital
people, the likelihood of because, without it, the merely ‘digitising’ old pedagogy’ achieve, as
them grasping the chances of our being able practices means simply opposed to simply settling
opportunity to fulfil their to help them develop the seeking to get the same for a ‘digitised curriculum’?
potential can only be wisdom, the patience and or similar results – but
enormously diminished. the courage to deal with that bit faster. For, in every respect, these
the world we’ve bequeathed are two very different things.
I’ve tried to promote the to them moves from If all you do with technology
concept of innovation in being difficult – to well is use it to support existing Our task is to harness every
ways that ensure that our nigh impossible! methodologies and practice, opportunity we can find for
education systems, at every then why, and on what delivering creative learning
level, remain relevant to the But it would be naive to think possible basis, would you through technology;
collective needs of a society that the impact of technology expect new or significantly to address those many
that is in itself changing in is restricted simply to those better results? longer-term challenges
ways that, at times, I find being taught. we as a global and digital
quite bewildering! I’ve long been suggesting society now face, whilst
Affordable and powerful to anyone who’ll listen that offering all our young people
It is, of course, digital platforms and technologies those who wish to drive a decent chance to lead
technology that’s the driving have now become embedded educational improvement happy, fulfilling and
force behind much, or even in the everyday lives of a would do well to consider rewarding lives.
most of this change. whole new generation of
teachers; and that’s
Surely, if we want to win important, because,
back the trust of young in essence, the problems
people, we need to engage surrounding the adoption
far more effectively with of advanced technologies as
their world – learn to view part and parcel of day-to-day
technology, and the way in teaching practice stem from
which they relate to it – two very different approaches
through their eyes. to technology.
To see it as they do – as The first seems designed to
creative and transformative support and reinforce existing
– not simply as some kind – or, in many cases, outdated
of useful ‘add-on’ but as – practices, some of which
something that changes haven’t materially changed
the very nature of the way for almost 100 years!
in which all of us teach and
learn; and indeed, the way
we respond to learning.
Creative engineers
Jonnie Turpie MBE,
Digital Media Director Maverick TV,
Birmingham Ormiston Academy
When technology and the most innovative and and those designing schools online ‘ideas factories’ that The Academy is built upon and perform’ 24/7. As much
working practices are entrepreneurial individuals and curricula to embrace the might once have been the commitments from the of the pupils’ production will
changing so fast, is there of the past were as much speed of change. But it’s domain of educational TV Ormiston charity to support be digital, it will be shared
enough emphasis on poet as inventor, equally important to support or ‘backup support’, but are young people who are with other schools,
learning to learn rather mathematician or physicist young people to see behind now delivering multiplatform disadvantaged by not having industries and audiences.
than teaching kids stuff? as artist or designer. They the screens and reveal media solutions that access to education;
Young people are pretty were called artisans. Today how the magic of media, enhance interactive and Birmingham City University’s Creative industrial partners
clever! And talented! they might be called creative algorithms and data personalised experiences commitment to creative from production resource
engineers and are more manipulation, content for large audiences. industrial education and companies to rep theatres,
They grow up with the likely to work as production creation, distribution and IP The BRIT School who broadcasters, digital
technology of the day and teams, sharing each other’s exploitation are made. In this In these programmes, young have worked with the music agencies, venues and
have always been natural creative and technical skills way, they will learn how to people were motivated to industry in exemplary ways community arts and media
early adopters. Be it pen, for their common projects. produce new and innovative apply themselves and their to create an educational organisations in Birmingham
pencil, print, radio, film, applications and products academic and practical community that is motivated, and the Midlands are
TV or photography, they We need to encourage of the future. understanding of ever- respectful, talented warming to the Academy’s
all provided tools for this today. changing media. In many and successful. ambitions as the first
the young to extend To achieve this, education cases, they bring term begins.
and express themselves. New technology and digital has to get closer to young their contemporary One of the practical lessons
media engage young people people’s daily adoption of understanding and user learned to great educational Together, we look forward
Those that had access from the day they enter the media and technology by experience to create effect is the benefit of hiring to seeing the meshing of
to these media in their world. The TV, PC, mobile, providing the tools, support new ideas, answers and media, theatre and music creative industries, sciences
childhood would have used smartphone and now iPad and channels to get their applications. Experienced professionals as teachers! and technologies with
them. Those that had and social media are productions out into the researchers, producers, They were helped to the development of talent
additional reading, writing, increasingly easy to use world to be tried and tested directors, production recognise and use their behind and in front of the
science and maths skills and immediately rewarding. by audiences. This can be managers and accountants pedagogical skills, without screens that will reward
would have applied them In addition, they are driving done through digital platforms give their time and take being forced to become young people’s commitment
to better themselves, the industries of the world built and managed by schools. young people seriously. creative industry/media to learning, endeavour
gain employment and they are inheriting. If we teachers. Instead, these and entrepreneurship, and
contribute to society. don’t create the education At Maverick, we encourage Many of the lessons learned industry professionals were contributing to their society.
systems to value and teach work placements from through these small but supported in bringing their
Of late, it’s been the role the arts and scientific skills, secondary, HE, graduate and instructive programmes knowledge and modus
of education to provide the knowledge and endeavour, postgraduate placements. have come together in the operandi to young people.
core cognitive and analytic our young people will be This has been valuable to the plans for a Creative and
skills to enable young disadvantaged. young people in expanding Digital Media Academy to Another lesson is the focus
people to learn. The arts their education and providing be opened in the city centre on performance through
and crafts are add-ons, It’s not easy. Technology, creative industrial experience. of Birmingham, UK. The putting on shows on a daily
curriculum nice-to-haves, digital media, software and Many have gone on to gain Birmingham Ormiston basis throughout the year
not must-haves. apps move at such a speed, employment and, in some Academy (BOA) is driven and across London. The
it’s not easy for adults and cases, develop their own by a commitment to young BOA team will learn from
It’s not always been that teachers to keep up with businesses. We’ve also people’s access and these examples and add in
way. In the past, arts and young people’s adoption and worked with Channel 4 engagement with creative digital media opportunities
sciences were studied enjoyment. However, it is in particular to offer R&D and digital media industries’ to create platforms for
together, and some of incumbent upon educators opportunities and develop education and knowledge. young people to ‘produce
The gift of ignorance

Kaila Colbin,
Chief Marketing Officer at minimonos.com
I am ignorant. up their hands. After all, to exactly the information do it, they just saw We need to stop rewarding We forget that, at the
we each learned a finite you need in the context in something. It seemed answers and instead reward beginning of the learning
And for that, I am grateful, collection of information which you need it. obvious to them after a while. the search for them. process, we are all failures.
because the infinitude of and, from here on in, life That’s because they were We need to teach kids a Or, looked at another way,
things I don’t know means is simply a process of There is nothing sadder than able to connect experiences different perspective on ignorant beginners.
that I will be able to learn allocating tasks to the being a know-it-all; it means they’ve had and synthesise failure, because what we
forever. And that, in turn, right person. you are done with learning. new things. And the reason learn in school is that failure The great gift of ignorance
means that I can live a life And that attitude of being they were able to do that is an end point. We forget is a lifetime of learning.
of surprise and wonder. This is hugely dangerous in done affects more than our was that they’ve had more how many times we failed If you don’t realise that yet,
a world that is changing as ability to acquire new skills. experiences or have thought to walk when we were first it’s time to figure it out.
It also means I can approach quickly as ours. When I hire It affects our relationships more about their experiences learning how, or how many
situations with a mindset someone, I don’t only want with those around us. than other people have. times we failed to
that is prepared to figure to know what their skills are. It affects our inclination Unfortunately, that’s too pronounce a difficult word
things out. There are two I need to know that when to understand each other, rare a commodity.’ or use our fork properly.
essential elements to this: Facebook comes out with to learn from each other, to
a willingness to admit that new tools for marketers, find common ground. Henry
you don’t know something they’ll investigate how they Wadsworth Longfellow said,
and a belief that you are work and figure out whether ‘If we knew the secret history
capable of learning it. I have they’re useful. I need to of our enemies, we would
been an entrepreneur my know that when I give them find sorrow and suffering
entire life, and this mindset a new computer, they will be enough to dispel all hostility,’
is the biggest difference I equipped to learn how to but if you do not tend
see between entrepreneurs use it, without having to take towards learning, you will
and the people who say, a course at a local college. never discover those secret
‘I could never do that.’ I need to know that, as new histories. Your relationships
information comes in, they begin to die as soon as you
The curse of our education will not continue to do the stop seeing the other with
system is that it is designed same thing and expect a new eyes. The moment you
to convey a specific set of different result. In short, think you know everything
content rather than a I need to know that they’re there is to know about
process for acquiring not insane. someone, they cease being
content – the implication a vibrant, dynamic, alive
being that, once we have The miraculous thing about human being and instead
gotten a 65% or above on living in this century is that become a mental construct
some tests, we are done we have infinite tools to in your head, fixed in some
with learning and can now learn anything at any time. moment in the past.
get on with the business I have just signed up to a
of “‘real life.’” free online course, offered Without a culture of learning,
by Stanford University, on of new experiences, we lose
But when people believe artificial intelligence. MIT’s our ability to be creative.
that learning ends when entire course catalogue is Steve Jobs said, ‘Creativity is
school ends, they get stuck. available online, for free. just connecting things. When
As soon as something Thanks to the internet, you you ask a creative person
comes up that is unfamiliar can learn about calculus or how they did something,
or that requires new genocide or climate change they may feel a little guilty
knowledge, they throw or Photoshop; you can jump because they didn’t really
Economic creativity Getting our playful natures right

Sean Randolph, Pat Kane,
President of the Bay Area Economic Institute, USA Musician, author of The Play Ethic and Radical Animal (forthcoming),
and one half of the Scottish pop-soul group Hue And Cry
More than ever, creativity has become a competitive asset, What if the playfulness exercise in building forms Marxists and Harvard
as economies scramble up the economic ladder, or (like the that has always been a of simulation, combination sociobiologists) seems to
U.S.) work to hold their place at the top. Cities, states and subterranean touchstone and gaming that also require a ‘constitutional’
nations that harness the creative energy of their citizens for educators since the rehearse optimism. dimension: a protocol of
are most likely to be innovators – and innovation is critical Romantic period (from governance securing certain
to meeting many of the economic, technological and Rousseau to Froebel, Steiner The answer returns power material and emotional
governmental issues we face as a society. to Montessori, Reggio Emilia to the educator and pupil conditions, to enable a rich
to Summerhill) has become – but not in the institutions plurality of play-forms.
How do we harness that creative energy? Much of the the Achilles heel of we have inherited from the
answer lies in the systems we design and live in: technology productive subjectivity? industrial age. Education has When Lawrence Lessig
platforms built on open architectures, businesses that What if the regime of flexible to build those rich ‘grounds speaks of the internet as
empower customers and employees – and invite their production and knowledge of play’ in which the optimism an ‘innovation commons’,
contribution, physical spaces such as buildings and cities management that typifies of our species can flourish the resonance with a
that facilitate human interaction, and communities that contemporary Western in a way which outflanks sociobiological vision of
are rich in culture and deliver a high quality of life. capitalism is now uniquely and surpasses any dominion the ground of play is clear.
exploiting our distinct human that a powerfully calibrating His idea that the internet
We can see this reflected across the spectrum. There is openness and flexibility control-society might assert. represents an ‘architecture
a link between technological creativity and the arts – (our neoteny)? It could do no worse than of value’ is like the conditions
so art and music have economic importance. Schools that to attend to the peculiarly for play: both are discernible
encourage critical analysis and creative thinking, and enable If we can question the persistent linking of zones of rough-and-tumble
each student’s innate skills to blossom, are a prerequisite. fine-grained capitalisation commons and dynamism that activity in which our
of our playful natures, we characterises the internet. socioethical identities
In the end, economic creativity is linked to diversity. might find a new foundation are forged.
As brilliant as any individual may be, they will probably for a progressive education. Play and play-forms
become more creative and productive through interaction Play brings a sense of joyful throughout the human That our schools and
with people whose different backgrounds and perspectives indefatigability and energetic lifespan are deeply colleges could be
helps stimulate fresh ideas, new ways of thinking, and new resilience, which – like constitutive processes, ‘innovation commons’ and
ways to tackle problems. Monocultures are rarely creative the pleasure of sex for shaping the design, ‘architectures of value’ –
– at least not for long. Cultures and organisations with procreation – is evolution’s functionality and culture could be ‘constitutional’
diversity and flexibility are. ‘salute’ to the human animal of the internet. The internet as much as ‘institutional’ –
for maintaining a ‘general could represent an extension is a future that many
liveliness’, in the face of the of the ‘ground of play’ that educational activists are
challenges of existence. we see across the higher striving to build. Yet they
complex mammals – that should realise that play is
Play is not the soft spot open but distantly monitored their deep and elemental
whereby we are made developmental zone of time, ally in such activism. And
passive ‘dividuals’ (in Gilles space and resource, where that educational moments
Deleuze’s words) by potentiating risks are taken which cleave as closely as
hypercapitalism. Instead, play by explorative, energetic possible to the generative
is the resilient optimism out organisms, in conditions structures of the internet
of which the very possibilities where scarcity is held at bay. will also tap the constitutive
of societal difference are power of play.
generated. An education So the ‘constitutive’ power
for players, founded in of play in humanity (that
this sociobiological vision, neoteny-driven potentiation
becomes a constructive that excites both Italian
Creatures of habit
Tom Bentley,
Former Director of Demos and a former Director of Applied Learning at the Australia
and New Zealand School of Government. He writes here in a personal capacity
For several years, my order skills and the supply most about our acquisition
younger daughter Iris, who is of digitally-enhanced of a tablet computer is that
nearly seven, has made sure learning opportunities. it has prompted a new level
that I get up and sit with her of collaboration and sharing
while she eats breakfast, In it, we argued that between the two siblings,
watches TV or reads a story. education reform, as they try out games, make
particularly of curriculum videos together, search for
When I am away working, and assessment, was downloads and show each
she doesn’t follow the same necessary to make the other what they have
routine, but when I am there most of this opportunity. learned day by day.
she insists.
Since then, a few things When we wrote The Creative
One day last week she have come and gone, Age, we focused primarily
chose a different course of including the first dot-com on how to reshape formal
action, got up quietly, went boom and the 2008 global education for this new era.
downstairs and found the financial crisis.
iPad and spent an hour There is still plenty of
quietly playing on it before But over that decade, the debate: what skills and
hunger propelled her into thirst for creative learning knowledge should be
finding me. – for children and young provided through the
people and among adults curriculum, and how
I had mixed feelings about at work and at play – should we nurture creative
this experience. Part of has only increased. skills and talent through
me was thrilled that, on a tertiary education and
Sunday morning, I wasn’t And in the same decade, into workplaces.
required to get out of bed digital technology has His exploration treats these achievement in a given field Developing habits which
at 7am. Another part of me flowered in ways which But I find myself thinking different minds as ‘ways of – is another illustration. support the kinds of learning
was sorry that I wasn’t the have spread the possibilities that a dimension of creative thinking and acting’. – or the ways of thinking
first port of call when for creative learning learning that is both broader But many of the most and acting – that we value
Iris woke up. and co-production. and deeper is the power My family episode reminded powerful habits we form is therefore an essential
of routine and habit that me how powerful the are those of which we task. Learning how to leave
Either way, the episode My elder daughter Esther, shapes our personal habits we form are, are barely conscious – other habits behind is
reminded me about the nearly 11, was recently outlook, our capacity for as both children and adults, grounded in everyday equally important.
power of habit and routine delighted to find that she is learning and our ability to and how ‘ways of thinking routine and social practice.
in shaping our learning quicker than me on the iPad, choose where our learning and acting’ are shaped by This may seem obvious.
and creativity. as we filled in a national will take us over a lifetime. their repetition – through They are habits of family, But it is a starting point for
census form together online. practice, as well as work and social life – understanding, not just how
In 1999, I co-wrote with In his 2007 book, Howard through abstract thought including habits of thinking we might shape education
Kimberley Seltzer a Demos Mobile and networked Gardner outlined five minds and argument. and acting – how we listen to meet the needs of
pamphlet called The Creative digital technology drives for the future: disciplined, and pick up information, creative learning, but also
Age, which argued that the everyday experiences synthesising, creative, In his book, Outliers: The when and what we read, how it is that we shape
emerging knowledge-based shared by hundreds of respectful and ethical minds Story of Success, Malcolm whether and when we ourselves and how we
economy was generating an millions of people – within that he argues should be Gladwell’s discussion of the smoke or drink, how might become more
unprecedented opportunity families, across workplaces nurtured and developed ‘10,000 hour rule’ – the idea we exercise, how we creative in doing so.
for creative learning, fuelled and in social groups of all because they are especially that repeated practice is communicate with others.
by the demand for higher kinds. What has struck me critical for our future. a determinant of great
Reading, Wroughting, Arithmetic

Sir Christopher Frayling,
Former Rector, Royal College of Art and former Chair, Arts Council England
The Russell Group of was a third R and it is as I do, do as I say,’ said the The philosopher Jean-
universities has recently called wroughting. Reading, geography master); it was Jacques Rousseau put this
announced that the more wroughting, arithmetic. a question of discovering well, way back in 1762. This
practical subjects at A-level Literacy, creativity through things for oneself and thus is a passage from Book III,
and GCSE will not in future making, numeracy. The internalising them. I still his ‘Emile: or, On Education’
be considered ‘challenging’ basis of any well-rounded carry those messages. which I came across while
enough to count as education. Educationalists I was at university in the
prerequisites for entry to the have written a lot about 30 years later I discovered 1960s. It helped to
top institutions of higher this, since the days of by chance that the elderly change my life:
education. Meanwhile, the William Morris and co: lady was, in fact, Ethel
Secretary of State has the intelligence of feeling, Mairet – weaver, member ‘If, instead of making a child
publicly differentiated the psycho-genetic of the Ditchling group of stick to his books, I take him
between the serious educational principle, craftspeople, direct heir to to a workshop, his hands
subjects at A-level and the experiential learning, ways the original Arts and Crafts work to the advantage of
less serious subjects. Guess of enhancing motivation for tradition. Not someone who his intellect, he becomes a
which category art and the more practically-minded looked backwards, though; philosopher while he thinks
design are in? Design, students and so on. And yet, she used the latest materials he is simply becoming
which was at the core of in hard times, all this is and had strong views about an artisan…’
the school curriculum in the forgotten or dismissed as industry and quality.
1990s, has become optional trendy theorising.
again post-14. And all this at When English snobbery
a time when creativity has at Well, it certainly wasn’t runs headlong into creative
last moved centre stage in theoretics with me. I can education, we all know who
discussions about business still vividly remember the will be the loser. And it is
and entrepreneurship. moment, when I was just happening. Again. Look at
seven years old, when I how the phrase ‘creative
Babies and bath waters successfully produced a industries’ has become
spring to mind. In hard times, piece of multi-coloured tainted goods in political
the establishment is closing weaving on a loom under circles, making way for
ranks against precisely the supervision of the ‘productive industry’. Look
the wrong enemies. elderly lady who was at how ‘the practical’ is being
teaching us. The sense of shunted into the vocational
Because one thing we achievement. The sense that sector. Look at how ‘design’
have learned over the last intention could actually lead was not considered to be a
20 years is that it isn’t about to realisation, learning all priority subject in the Browne
‘vocational’ skills at all. sorts of things along the Review of Higher Education.
And it isn’t even about way. The sense that Above all, look at how the
the three Rs either… technical constraints could integral connections
be reassuring. That there between creative learning/
The three Rs of reading, were, sometimes, answers thinking and economic
writing and arithmetic rather than just endless growth are being quietly
are really, in terms of questions. And where the forgotten in discussions
fundamental skills, the two big questions were about education…
Rs of reading and writing concerned, it wasn’t a
(literacy) and arithmetic question of learning what
(numeracy). There is and the teachers said (‘don’t do
The library as cultural enabler

Miranda McKearney,
Chief Executive of the Reading Agency
ting,
here the exci
Louis from Lewisham is a and because children Libraries are now part of the drawn in first as participants Yet here is w tivities are
ts ac
cultural volunteer spending come back to school Arts Council of England’s and then as leaders, can creative ar
d nurtured.
his summer energetically fired up about reading, concern. Yet libraries and help shape important conceived an
ve
inspiring a group of children and ready to learn. reading are often missed decisions, directions and st ways to sa
to follow his interest and out of the picture when activities, ensuring libraries One of the besimply visit them
So here we have public libraries is to work
engage meaningfully with talking about the arts. stay relevant and nd how their
the arts. He’s developing libraries leading one of Weird, because reading understand their audiences. and understa g has changed in
in
new skills as an advocate, the UK’s biggest cultural is our biggest participative around read Celebrities are
promoter and mentor whilst engagement projects. art form and just think The library as a hotbed fifteen years. their hear tfelt
also pursuing his own 760,000 four – twelve year about what happens when of a creativity is a difficult gracious with raries but up
creativity. It’s the second olds take part, sensitively you read – you’re instantly concept for many cultural suppor t of lib tanding of the
rs
year running he has chosen encouraged by staff and plunged into a deep and policy makers and to date unde ities and purpose
to devote time, energy and volunteers like Louis whose intimate connection with managers. We can easily changed activial. Somewhere
intellect to culture and he’s input illustrates a very the writer; your imagination view theatres, galleries is also essent culture got
e
having an electrifying effect current mixed economy fuses with theirs to and concert halls as useful along the lin e visual and
pt ur ed by th
on a hard-to-reach audience model. Community create new worlds playmates for schools and ca ts. Literature e
perf or m in g ar
who admire and follow his involvement that adds and understanding. universities even if they
gg le d to get its voic the
guidance. Where is this capacity to, but doesn’t – are still elitist institutions has stru s are leading t
ar ie
creative learning for life, and shouldn’t – replace Libraries are the way society to many in society, heard. Libr l engagemen
ra
money and love taking a professionally run ensures we can all access despite thirty years way for cultu ity. They deserve
place? A cutting-edge library service. the personal power that of intense audience and opportun at tention.
gallery, community theatre comes when you’re a reader. development initiatives. some of your ket works across
tic
workshop or street-wise With a bunch of fellow social Reading isn’t just a nice Your library y to use it if you
e co un tr y. Tr and
dance studio? No, it’s the entrepreneurs, I set up thing. It’s essential to being The central geographical, th ading, words uis.
care ab ou t re Lo
local library. The Reading Agency in part of society. An art form cultural and social position peop le like
2002 to develop reading that needs to reach of libraries enables them the voices of
Louis Howell is a volunteer and readers. We work with everyone. But it doesn’t – to attract the bored,
for our Summer Reading libraries because they are one in six adults struggle the disenfranchised or those
Challenge at Lewisham democratic, socially with low literacy skills and that conventional education
library. 97% of UK public equalising venues. libraries are key to tackling fails. Yet their very
libraries participate in this this. Libraries are surely the accessibility with some
hugely successful annual Libraries are the place ultimate community enabler, groups of demographics
reading development where creativity and a potent symbol of collective perhaps renders them less
project. A simple idea that culture are accessible to power and civic pride? attractive to others. The arts
invites children to read six all. They are performance It would be hard to think of intelligentsia love literary
books – any books – over spaces, galleries, and a more important part of our stuff but how many of them
the holidays. In return they learning hubs. They can cultural fabric to an agenda (you) regularly access it
receive stickers, rewards support creative industries, that’s about community from the library? Cruising
and lashings of creative enterprise and innovation. power and action. our beautiful book-shops and
stimulation. It’s run every They exploit digital websites, or meeting friends
summer, focusing on technology and We need library in a literary festival are, for
attractively designed, child contemporary practice. professionals with the many of us, a pleasurable
friendly themes. Teachers Lots of this happens expertise to provide past-time. Visiting a new
love it because it keeps through their reading work. informed support as people town we might seek out
reading levels up in the explore the world’s ideas. the theatre or gallery but
long break from school, But volunteers like Louis, rarely a library.
Information plenty and knowledge famine?

Rose Luckin,
Professor of Learner Centred Design,
London Knowledge Lab, Institute of Education
lives were about to be through the pages. me, that it is not handed to the library shelf. I fear
dramatically changed by The stock of copies soon me by others, though they however that our
the word processing power grew on the night stand as can certainly help me along understanding of what
of the digital computer. his pace of reading failed to the way, and that I can aspire knowledge is and what it
My brother was three years match the frequency of their to continually increase my means to know something
older than me, and his lack of arrival. The corners became knowledge by weaving has not progressed
interest in formal education slightly curled as the months together the information in tandem with this
was causing my parents and years passed and the resources distributed technological progress.
some concern. Their reaction dust gathered in and around throughout my world. This puts us at risk of
was to invest in ‘knowledge the pile that now extended succumbing to the illusion
books’, or at least that’s how from the night stand to the This is not the case for that we know more than
they saw the children’s book floor. His interest never many of the youngsters we actually do, because
of knowledge and the waned and I do believe who attend our schools the more information
encyclopedia that now filled there were a pile of old and colleges. For them we have the more we
up the bureau bookshelf. issues by his bedside when knowledge is still to be become certain that
To keep us up to date, there he died many years later. found in the dusty concepts we know something.
was also the weekly general in the out of date magazines
knowledge magazine that 40 years on and it’s a sunny on my father’s night stand Without helping young
I am curious about plopped on the doormat with Monday in September and or on the shelves of a library people to develop an
knowledge, not in a reassuring thud: the weight I’m walking along the Euston they never visit. understanding of what
philosophical sense, but in of its knowledge there for Road in London. I pass the knowledge is in a digital
a practical one. I worry about all to hear. entrance to the British ‘But what of the internet age they cannot progress
what it means to know Library and a sign catches and world wide web?’ beyond the well meaning,
something in a world that I suspect that my parent’s my eye, the sign says: ‘Step I hear you wonder. These but limited conception of
is increasingly complex, ill reaction to their son’s inside – Knowledge freely technological masterpieces knowledge promoted by
defined and interconnected: educational malaise was available’. I dislike the offer information resources the books and magazines
a world that demands that not an unusual one suggestion that one can wherever we are and that appealed to my parents.
we develop, and that we amongst the aspiring walk into the British Library whenever we need them. Those of us who understand
ensure that our children middle class families of our and just pick up some These must surely pave what we mean by
develop, the knowledge neighbourhood. My brother’s knowledge like going into the way for us to become knowledge can indulge
capacity to solve the reaction to the new literary Tesco and buying some more knowledgeable, ourselves, as my father
problems it manifests arrivals was cool; he was bananas. I can relatively both personally and as did with his magazines.
and those that we create. far more concerned with quickly formulate an a human community? But, without actively
exploring the world of the explanation for myself about engaging people in the
The first recollections that woodland around our why the sign irritates me, The sheer abundance excitement of connecting
I have of my own curiosity housing estate, than with because I have a clear idea of this information has the knowledge construction
about knowledge date back sitting at home and reading about what I believe thrown into sharp relief process to their own
to 1966 when I was eight about it. My father however, knowledge to be. I have our understanding of particular context, we
years old and growing up became quite addicted moved on from the the relationship between merely encourage them
in Manfred Mann’s semi- to the weekly general conception of knowledge information and knowledge. to pass the opportunity by in
detached suburbia: dad, knowledge magazine. loved by my father and It makes my modest the same way as my brother
mum, older brother and me. He did not have a great deal represented by the pages collection of childhood did all those years ago.
My father was an aircraft of time to read, but each of his books and articles. encyclopedias and my
engineer and my mother evening when he went to I know that I have to father’s overflowing In a time of information
taught typing and shorthand bed he would sit in his construct knowledge from magazine collection look plenty we are at risk of
to women whose working paisley pyjamas and thumb the evidence available to like a speck of dust on a knowledge famine.
A cow that is also a cucumber…

Ben Payne and Lucy Macnab,
Co-directors of the Ministry of Stories
‘I have yet to meet the including a superhero supply identities with parents, We chose to be in Hoxton But we’ve discovered that Young people who visit
person who is against store in Brooklyn and a siblings, friends, teachers to give ourselves the best the benefit works both ways. MoS don’t always write
children’s literacy, or who time-traveller mart in Los and the wider community. chance of recruiting enough Being required to draw a about monsters. Whether
feels that helping kids to Angeles. All are designed Literacy has to be seen in skilled volunteers to help us. cowcumber (a cow that is they do or not, we think that
write is a waste of an hour; as a community resource this wider context. In this, Shoreditch has both a high also a cucumber, obviously) they are often writing about
the scale of the problem is and to make writing fun. it seems, the child’s own density of people working in or a monster with 100 themselves. We’re interested
shrunk, temporarily at least, story and its ability to tell the creative industries and is legs, but only eight knees, in what they have to say
to the size of one small We aim to inspire a nation it becomes central. a developing hub for the is often just the shot about the world and believe
human, somebody sitting of young storytellers. new digital economy – but it of ‘creative caffeine’ a that writing your own story
right opposite you and We provide free writing Being open only a year, what is also home to over 30,000 volunteer illustrator needs may be the best first step
thoroughly enjoying what workshops for young people we’ve learnt from this work children, 75% of whom to face the rest of their in finding your way in it.
he or she is doing.’ aged 8-18, based on one-to- is obviously provisional. come from low-income working day. Similarly,
one mentoring. Our mentors However, from a one-off families. Our original aim selling tins of fear and
Nick Hornby, Co-Founder, are trained volunteers, workshop in which a primary with MoS had been to put breath mints for zombies
Ministry of Stories opening, a diverse group of writers, school class arrives with together the creative people may be a peculiar way of
November 2010 those working with writing, nothing but their with the time and talents to spending ours, but it has
teachers, designers and imaginations and leaves two help with those local young shown us that regeneration
MoS emerged as an idea local people. Our work takes hours later with an original people who might benefit is not just about buildings
from the need to augment place behind the mysterious published story that they most: two communities that and infrastructure but about
teachers’ work in the shop front of Hoxton Street have all written, to a holiday co-exist but rarely connect. human interaction too.
classroom. As founders, Monster Supplies, the only project in which young
we were inspired by 826 store to cater to the people write, edit and sell
Valencia in San Francisco. everyday needs of every their own newspaper in the
Told by teachers in San imaginable kind of monster. local market, our evaluation
Francisco that what young has shown that both
people who wanted help We see our relationship with teachers and young people
with their writing really the formal education sector respond positively to the
needed was one-to-one as a partnership. We are not challenge of writing towards
attention, the novelist Dave trying to replace teachers’ a finished product; of having
Eggers set out to prove that work, but to complement it. the freedom to pursue their
there would be enough Whilst education and media own ideas; of being able to
people within his local campaigns often focus on work for adults who are
community willing to help standards of literacy, passionate about writing
out. Having found a space Jonathan Douglas, Director and good at listening. As one
at 826, Valencia Street, of the National Literacy teacher commented about
he was told that it was Trust, has argued that there a primary school session:
zoned for retail, so it had is a tendency for these to
to sell something. To get concentrate too much on ‘I think (it) really helped
around this obstacle, skills. He maintains that those children who
he created it as a shop for children at the point of struggled with confidence
pirates, selling everything transition between primary when it came to writing.
that they might need from and secondary school (when They were able to produce
false eyeballs to replacement many begin to fall behind in something really special
peg-legs. A decade later, reading and writing) are that they were proud of and
and there are eight similar usually simultaneously helped them to realise they
centres across the US – renegotiating their own are all good writers.’
course of skills
of the dis
a n g e rs
The deoffrey Crossick,
rG
Professo f London
yo
Universit
Anyone who has taught None of this is specifically

Director of Research & in many othe r Euro pean about the creative economy,
In 2005 I became Warden this piece is on skills for but it is about imagination,
crea tivity , it is abou t the Venturing at BT, observed systems, as I have in Fran ce,
of Goldsmiths, Universit y of of the UK of the IT sector that it ‘is will recognise the differenc e, flexibility and challenge,
distinctivenes s
London, a higher education acro ss characterised by rapidly and the com paris on with the which go together in
institution renowned for its graduate and applies in education in the subjects
the economy. The difficulty changing skills educational appr oach es
creative buzz, for graduates er requirements. Particular the Middle and Far East is which feed that creative
that man y in high
who were dynamic, is not with technologies may well be even more striking. It is economy. This includes
imaginative and at times education have configuring thought and
preparing students for defunct within a relatively deve lope d by pers onal
difficult. Many of them fit ility – shor t period of time. HE’s contact betw een stud ents disciplines in new ways,
futur e emp loyab
well into the creative and are them focus should be on and academic staff , by and in encounters with
gh we prep
cultural economy. The sector thou more than developing young people research-informed teaching, othe
r students and other
skills council Skillset was for a great deal titioners. In this it
that – but with a skills with the abilit y to rapidly now aday s by socia l learn ing prac
establishing Media assimilate knowledge and that build para llels the social
agenda under successive environments
Academies, recognising develop competence on ent inter action and exchange,
gove rnme nts that has on traditions of stud roduction of
those universities that conc ept of what will be an ever- interaction, and by a the co-p
prepared students for the narrowed the know ledge, that
skills to something akin changing suite of curri culu m that enco urag es
media and film industries. as if the skills technologies that they critical engagement with characterises so much
to train ing. It is
Initially, I struggled with will encounter during established knowledg e. research practice. It is the
Skillset’s conception of of university graduates are abilit y to learn, exchange
like those deliv ered lowe r their careers.’
what constituted skills – ation system, On a recent visit to Hong and adapt that is crucial to
dow n the educ the creative economy, now,
which made it diffic ult We are educating graduates Kong I discu ssed the majo r
for Goldsmiths to qualify. but with harder sums. It is tomorrow and in the future.
for jobs that haven’t yet educational refor ms now
We got the impression that a misguided discourse that It includes entrepreneurship,
the real ways in been invented, and that is being implemented –fou r-
we had too much theory fails to see the ability to couple
ribut es especially true for the digital year degree programmes,
and not enough practice, which education cont imagination with an abilit y to
omic success. and creative economy. If a wide r curri culu m that
even though the Goldsmiths to econ we’d asked media industry crossed scien ce/a rts understand and model risk.
programmes had plenty of on skills employers in 2000 what boundaries, more critic al We can call all of this skills,
The disco urse are skills that come
both. So began a period of t-ter m. skills they needed, how and imaginative engagement but they
seems entirely shor ation, not training.
discussion about what was d many would have said with know ledg e – and saw from educ
A few years ago I organise
the relationship between inar for Univ ersities ‘digital content’ or how other know ledg e
a sem There is nothing wrong
skills, education and er-te rm think ing ‘interactive media’? economies understood what
UK on long with skills other than the
employability in the creative subj ects ’ The most forward-thinking, they lacked. As I said to
about the ‘strategic meaning policy-makers
industries. It was a perhaps, but not many. people there , it is easie r to
employers might need. generally attach to them.
constructive debate, in dn’t find a large Graduates from intellectually change education al
I coul It is through that narrowing
which industry leaders as to tell us how they demanding media degrees structures and curriculum
employer of vision by which skills
much as academics and ects in in that year would, however, than to change the culture
predicted the subj becomes about training
Skillset engaged. We came s have the flexibility and ing. Our appr oach to
which they’d need graduate of learn
rather than education,
to understand each other, year s time , but foun d understanding to adapt university educ ation is more
in five about security rather
and the conception of skills told us that he had as new opportunities conducive to creativity than
one who than risk, about the known
became wider, embracing ’d need in came along. This is the that in many other countries.
no idea what they rather than the unknown,
a longer-term vision of distinctiveness of the UK There is a dang er that in
five years so could they that the strength of
what was needed. graduate. They are more pursuing a narro wly-
please have bright, the creative economy
imaginati ve grad uate s who likely to be innovative in conceived skills agenda the
Here is an employer-led a crea tive ways not constrained by UK will willfully abandon its will be undermined.
d think in both
organisation moving beyond coul rigid disciplinary or cultural competit ive adva ntag e.
a narrowly-defined sense of and rigorous way. More
rece ntly, Geo ff Scot t, frames of reference.
‘skills’. Although my focus in
Singing songs of expectation

Paul Roberts,
Chair of Creativity, Culture and Education
Creative learning is the studies from North America the different relationships support their children in experience for those children
most effective catalyst for and Canada showing that that developed. Pupils were literacy and numeracy, and families. It was a scheme
the vital life-chemisty of teacher expectation has particularly inspired by they feel able to extend driven by principles of
ambition, confidence and a dramatic effect on opportunities to work creative programmes at personal confidence, family
expectation. Creative achievement (Fry 1982, directly in the creative home. Creative Partnerships learning, cultural identity
learning unlocks Garmezy 1991, Mehan et industries. Such involvement offer strong models for and respect, problem solving,
expectation. It unlocks al 1994). gave them high aspirations developing and sustaining critical reflection –
heightened expectation for for the future.’ (Learning: wider family learning as well and celebration.
young people of themselves. As these dates indicate, Creative approaches that as parental involvement in
Even more powerfully, we have known for a long raise standards. OFSTED children’s learning. The sculptures were colourful,
it unlocks the expectation time that expectation January 2010) well-crafted, funny and sad
which teachers, parents and is a cornerstone of ‘My daughter’s confidence – compelling accounts of
carers have of young people. pupil success. It is not only the expectations bowled me over. My husband human drama in those
And those heightened of teachers and pupils that sometimes says some of the Haringey families. But the
expectations are self- But in turn we also know that are recalibrated through things they get involved in written commentaries were
fulfilling. Never has this creative learning is the key to creative learning but those are too grown up – but he even more significant.
been a more important unlocking those expectations. of parents too. It is clearly went to the performance There were questions for
virtuous circle to create Consider the evidence from established that parental and ate his words. I cried!’ the children to complete.
and sustain. OFSTED in their inspection of involvement in their child’s (www.creativitycultureeducation.
creative learning. OFSTED’s learning is a vital factor in org/research-impact – Their ‘Where did your ideas come
Of course there is intrinsic report on how Creative the child’s success. ‘Their learning becomes your journey) from? From my dreams’
joy in creative learning. Partnerships – at the heart learning becomes your
In that sense it needs of which is creative learning journey: Parents respond ‘What was your favourite bit
Let me take you back to the
no justification. But let’s inspired by creative to children’s work in Creative of the project? I feel proud.
National Portrait Gallery in
spotlight an extrinsic practitioners working in Partnerships’ was prompted I realise that I have skills
2005 to an exhibition titled
purpose of creative schools – has routinely by observations that children I didn’t know I had.’
‘Family Faces’. This exhibition (www.npg.org.uk – Family Faces)
learning – self-fulfilling unlocked expectations communicate their resulted from over 60
heightened expectation. of pupils, teachers, enjoyment of school-based families in seven Haringey
parents and carers – with creative projects to their These words from a young
schools working with
There is research evidence consequent and quantifiable parents to a much greater person are the greatest
a ceramicist – children
and literature on the value improvements in attendance, extent than their work in reward to which a parent,
alongside parents, carers,
of setting high expectations attainment levels and the core curriculum. carer, teacher can aspire.
grandparents and siblings.
and the common parental involvement. The creative curriculum They are words which are
Each family produced a
unconscious slip by teachers has a positive impact on the foundation for a young
sculpture of itself. These
into underestimating pupil ‘The most effective home-school communications person’s growth – the
sculptures, accompanied
potential. The study by programmes had a real as parents develop chemistry of ambition,
by the participants’
Rutter, ‘Fifteen Thousand purpose that motivated perspectives on their confidence and expectation.
commentaries on the
Hours’ (1979), reported on teachers and pupils, children as learners and experience, formed a display
a number of London schools regardless of their prior Creative learning changes
also on their own learning, at the Gallery as part of their
in deprived areas and experience. For many pupils, our expectations of young
past and present. Creative ‘Reaching Out, Drawing In’
suggested the recalibration the high quality of the people. It changes their
programmes offer low-risk initiative (supported by the
of teacher expectation was experience was directly expectations of themselves.
invitations which encourage Heritage Lottery Fund).
a key to fostering well-being related to the unpredictable Creative learning surrounds
parents to engage with Those of us fortunate
and achievement among approaches taken by young people with positive
teachers and the whole enough to visit that exhibition
disadvantaged children. creative practitioners expectation – it changes
school. Whilst some parents saw the outputs of a truly
There are many behavioural working with teachers and young lives.
may lack confidence to creative and memorable
beyond object or word – health difficulties constitute Uninterrupted chronic
like the abstract art of my 13% of disease worldwide childhood maltreatment
childhood. In order to access – surpassing cancer and is the biggest adversary
an emotional response cardiovascular disorders – against skills acquisition
and then develop it to we discretely disguise the and creativity: lack of both
the point of perception fact that we have some 1.1 money and love erodes the
and expression, the old million children suffering foundation of wellbeing.
executive function of from significant emotional
the frontal lobe is needed. and mental health problems. Creativity is the by-product
The parental love firstly The figures of children living of a subtle dynamic. There
has to enable the child with substance-abusing has to be sufficient order
to understand their body, parents are difficult to to be able to access a
to recognise the feeling capture officially, but it is rearranged order and realise
and then to articulate estimated that a further 1.1 the new idea. Any divide
the felt moment into million children are enduring between love and skills
a coherent product. the chaos of parental is a foolish divide
addiction. Add to these underestimating the
Maltreated children have vulnerabilities the corrosive systemic subtly within which
been polluted by the invasion impact of poverty and you human beings are placed.
of abuse, turning them into have a catastrophe lurking It’s hubris to think that
fugitives from their own beneath our ‘civil’ society. creativity can be taught as
bodies. They struggle to visit a set of skills without the
feelings creatively because The failure to arrive at a visceral source of it being
so much of their time is creative solution resides in genuinely acknowledged.
spent suppressing by- an anti-creative operational So whilst we preoccupy
products of the trauma. framework. Civil society ourselves with the
sabotages love because it acquisition of skills,
1.5 million children a year does not invest sufficiently in we would do well to pay
are maltreated in the UK, the wellbeing of maltreated equal attention to love as
with an annual cost to the children who, as adults, a driver of it. Money is
economy of £77.7 billion. go on to recycle the harm, needed to meet basic
Currently there are just rendering their own children needs and prevent people
under one million NEETs. disturbed. Prenatal studies from resorting to savagery
Out of the 21 wealthiest demonstrate that foetal as a means of surviving.
countries, we rank lowest development is altered by Only a sufficiently secure
for children’s wellbeing. the levels of distress to environment that supports
Whilst international research which the mother is exposed. love will allow creativity
recognises that mental and productivity to flourish.
connections which are love to be able to organise framework, there is infinite
a neuronal system of having received enough within the boundaries of this
the body, delivered through are entirely dependent on wings and flying. However,
repertoire. It emanates from carer. Learning and creativity him or her from growing
in the mind nor in a skills independence from the programming prohibits
There’s no divide between love and skills
process is, I believe, neither develops meaningful An individual’s genetic

origin of the creative been internalised, the child behavioural possibility.
creativity. The most complex Once care capacities have boundaries of human
of love can deprive us of the absence of the carer. Genetics define the
The same impoverishment function to self-manage in
develops sufficient executive the best aesthetics.
reason for so many NEETs? responses until the child cell structure and, ultimately,
of love could be the real them narrate and regulate It is close to mathematics,
have thought that a lack with the child, helping Intuition is a primordial order.
opportunities. Who would (usually a parent) bonds verbalises the intuition.
good use of skill-based exposed. The primary carer locates, identifies and
sufficiently to make to which they have been body; my mind subsequently
people from regulating the quality of parental love process as originating in the
which is preventing young be prosocial is reliant on to recognise my creative
cortex and limbic system, self-regulate, soothe and matured, I have come
balance between prefrontal being’s capacity to within me. As I have
functioning, this lack of behind the eyes. A human expression with a feeling
unregulated neuronal part of the brain situated which linked artistic
It is precisely this subtly prefrontal cortex – the front introduced me to an intuition
depleted executive function. responses, we use the me. This early experience
of love has delivered a visceral and emotional oneness of all going through
to manage because lack and keep prosocial our integration, fusion and the
they are often ill-equipped deep mid-brain. To modify to capture the sense of
with emotional energy which within the limbic system, no words powerful enough
Founder of Kids’ Company system, overcharging them our memories are located places of worship. I knew
Camila Batmanghelidjh, an assault on their limbic for our emotional life and spiritual architecture of
Traumatised children endure predominantly responsible when walking through

The parts of the brain I had encountered before
functioning. visceral sort of feeling that
This enables skill-based will emerge. It was an inexplicable,
in a coherent narrative. character and capacities exhibition of abstract art.
and reproduce them mixtures from which moved to tears at an
perceptions and feelings, possibility of creative As a child, I found myself
The BRIT School – 20 years on

Nick Williams,
Principal of The BRIT School, Croydon
The BRIT School is to participate in all parts the industries developing up a Foundation Degree in
celebrating 20 years of of the music production new practice, who come Digital Media Practice with
a unique educational and process. Our ability to see back to share where the Bournemouth University
industrial partnership. The all of these skills as creative, world is moving; all of us and a number of industry
only school whose capital engaging and personal is are always hungry to learn. partners; and, best of all, to
funding derived from a pop one of the reasons why so Birmingham, where, with our
festival (Knebworth 1889), many of our ex-students Make a record industry partners Maverick
it represents a partnership have engaged successfully A visit from Jonnie Turpie to TV, PRG and the BRIT Trust,
between the British music with the music business. our summer festival and the we have supported sponsors
industry in the shape of the Key to this is how our observation that so much of Ormiston Education and
BRIT Trust and the students learn by trial our work was lost as soon Birmingham City University
Department for Education. and error from each other, as the performance finished to create a partner digital
From the beginning, it has using their own personal led to our film and digital media academy. Here we
pushed at the innovative engagement with the new, arts enterprise, spurred on hope the bar of personalised
boundaries: its main building more personalised by the hiring of Ken McGill, multi-platform arts education
is a 40-square metre box technologies and by the filmmaker who made a can be pushed even higher.
of a theatre surrounded by regarding teachers as fellow 13-part series for the BBC
practical learning spaces professionals engaging about creativity in the Who knows best
that inform all aspects of and embracing change. school. Provided with Education in the UK, as a
rehearsal and performance. additional funding by static three Rs artefact isn’t
In its first ten years, Creative model government to develop a keeping up with the change
performance followed the This model of learning has second specialism in digital – the system has to
traditional lines of the arts always been in the school’s arts, we invested to allow all reconfigure itself to be a
industries, but the revolution creative fabric, so it was students to use a full range learning environment, not
in new technologies has much easier for us to roll of new hardware and just defined by content and
transformed our thinking with change in the teaching software to produce film, narrow sets of skills. In this
and curriculum, although of dance, theatre, arts, radio animation and other world, adults don’t always
not necessarily the way our and film, informing along the cross-arts products; many know best.
students learn. way how our students of these were uploaded on
engage with English, maths, to our website, partnering
First it was the music science, history and so on. with a wide range of
The first seismic shift for entrepreneurial companies
us came with music – as Creative professionals who are keen to work with
the industry that has helped We have from the outset our freedom-loving students.
define us struggled with held professional practice
a radical reorientation of in high regard and now In the world
how people receive and routinely recruit high-end We have taken our beliefs
purchase their music, so practitioners from the beyond the school gates,
we have changed from a relevant industries – artists, to Glastonbury to live and
curriculum where everyone actors, musicians, master multimedia performances on
played and a small number carpenters, dancers, radio the Left Field stage; shortly
recorded, to one where and filmmakers – then train to Accra in Ghana; across
the learning is all one – them as teachers on the job. Europe with performances
technology in classrooms, We constantly draw down and films in Sweden, Poland,
in venues and in bedrooms favours from ex-students Italy, Belgium France…;
that requires every musician who are spread throughout to North America; to setting
Arts organisations as sites of learning

Lynn Foon Chi Yau,
CEO, Absolutely Fabulous Theatre Connection, Hong Kong
Arts organisations or diverse knowledge for creativity but, more

can advance knowledge at their core. When importantly, both reminds
because they are alternative unconstrained (but not us of, and uplifts, the human
sites of learning that can unruly), the knowledge that spirit that can otherwise
overcome some of the they create is not based on be entrapped in the daily
shortfalls inherent in school economic competition but routines of wealth creation
systems. The arts are rather in and of art forms and the pursuit of a top
non-linear, abstract and that communicate position in a league table.
qualitative, in contrast to human concerns.
education systems which Finally, whereas the
are linear, literal and Second, each individual professional development
quantitative. Society needs art form is a loosely based of teachers in undergraduate
to be built upon alternative subject discipline with and postgraduate degrees
knowledges, not just on the flexibility to evolve. is predictable, pragmatic,
economic priorities. The Its fluidity stems from the utilitarian and dedicated to
abstract, ambiguous and multifariousness of its serving the curriculum and
intangible – the very nature primary materials and examination requirements,
of the arts – is, in reality, traditions, and these are by contrast, artists as
where living life meaningfully developed and extended teachers are acutely aware
in the 21st century will through the imagination of of the need to transform,
be apparent. artists. Imagination is crucial, to evolve constantly and
extending humanity’s ability to reinvent and innovate
There are four important to manoeuvre in the face continuously. This is where
differences between arts of the speed of change flexibility of mind comes
organisations and schools brought about by globalised from. This is where a creative
as sites of learning. First, information technology. habit of mind originates.
arts organisations are
not constrained by a Third, elements of surprise This is an edited extract from
bureaucratic system of set from creative ideas stimulate ‘The Arts in a Knowledge
precedents or rules and curiosity and motivate action Economy: Creation of Other
regulations. Looked upon as through the sense of wonder. Knowledges’ in Journal of the
diverse ‘schools’ unbounded In a knowledge economy, the Knowledge Economy 3 (1)
by a national curriculum, arts ability of the arts to surprise (forthcoming 2012).
organisations have alternate not only provides the basis
Xxxxxxxx
The case for creative learning in hard times
Greg Klerkx,
Xxxxxx Xxxxxxx
Xxxxxxxxxxxx
Co-Director of Nimble Fish,
www.nimble-fish.co.uk
In 1981, I was in high school research, communication the way towards a needs ofup
thinking ournewindustries,
things. New ideas,
driver of futurenewly formed,
growth. the raw, creative matter that
in America, immersed in a and interpersonal skills to creativity-led, rather especially is
Innovation ourdoing
creative
new so often
New sound
creative bizarre or
learning has been spewed out. The
curriculum scheme called that short period of study than rote-led, future. industries,
things.’ But are being itself
creativity insane. Our frames
programmes are nowofunder fruits of this honing can then
‘college prep’. This is roughly – skills that have enabled overlooked.
grows Our industries
from certain skills reference
way acrosscannot
Europe; always
China, be subjected to the harsh
equivalent to A-level work me to thrive professionally As now, the year 1981 saw needa more
that mavericks and
fact-and-test-driven contain
too, the anarchy
is beginning a slowof raw
shift glare of the critic,
in Britain, albeit with less and personally ever since. a severe global recession. individualistsculture
educational – originaldoesn’t creativity.less
towards Ourrote schools,
learning internal or external.
flexibility: back then, if you In times of crisis, societies minds with the
necessarily confidence
encourage: besieged
and by the requirement
more emphasis on
wanted to be positioned He wouldn’t have put it as often revert to conservative to promote
risk the new, and the
taking through to test and
enquiry, score,reflection
ideation, cannot Yes, schools should teach
for university consideration, such, but my history teacher principles; in this way, we try skills to give the new both
experimentation, further
and their
other cause with
classic their students the craft of
you took courses x, y and z, was engaging us in creative to recapture what we believe meaning and problem
collaborative resonance. output that cannot
components be
of creative the poet and equip them
no questions brooked. learning. He encouraged used to work, ‘when things solving, idea generation, ranked. And in America,
learning. with the tools of the critic
us to pursue the subject were good’ (or at least Art, self-management.
and music, drama, textiles, More the Obama Administration – but with caution and in the
Were I required now to however we saw fit: the better). Back in 1981, that graphics,
must be donedesign and that
to ensure ‘Listen atosweeping
issued anyone with an in
report right sequence and at the
reproduce virtually any of my results included visual meant a return to learning by creative
these writing must
concepts, be
and their original
May idea, no matter
underscoring the needhow right time. Let’s not try to
college prep work – solving and audio installations, rote, focusing on the three taughtare
value, notembedded
as potential in our absurd
for moreit creativity
may sound at first.
in schools: do the work of postgraduate
quadratic equations, performances and creative Rs, going ‘back to basics’. hobbies butprovision.
educational as subjects If you of
much putitsfences
language round echoes courses at secondary
sketching the carbon cycle, writing. We were judged My history teacher went which can help to give life people, you get
programmes likesheep.’
Creative - school. Let’s let our
diagramming a sentence – more on the energy of against the grain: he meaning. How
Secondly, can we
creativity must be William L. McKnight,
Partnerships. If we are 3M children play.
I doubt I could do it. This is our enquiry than on facts rewarded us for independent combat
led out of thethestigmatisation
‘arts ghetto’ Chairman,
serious about1887-1978.
continuing to
hardly surprising: I was and details; perhaps not thinking and creative of more
to creative subjects
fully embrace at be a world-beating society, Exposing the creative
required to consume and surprisingly, because we expression. That’s why school by politicians
professions that resonate and Where
we needcreativity
to look at is what our impulse to the critic too
regurgitate information enjoyed what we were he’s so memorable. then by
more staff with
clearly and even a by concerned, children are all
competitors/collaborators early causes creativity
mainly to satisfy the doing, most of us got our pupils who come
conservative to look
Zeitgeist. about
are the and
doing madness.ensureAtthatits to shrivel and die.
shadowy figures deciding facts and details right. Likewise, the current at creative
Creative subjects aswas
Partnerships best, childhood
we’re not falling should
behind… be
my academic future. economic and political being
an irrelevant
innovative and tolargely
their a moderatedwhen
particularly celebration
we’re ‘A new idea is delicate.
Understanding the value If we ask ourselves what climate has not been kind future prosperity?
successful experiment in of madness;by
considered, spontaneous,
many It can be killed by a sneer
or meaning of what I was education should be ‘for’ in to creative learning. We’re creative learning but its self-confident
others, to be intothe thelead.
point or a yawn…it can be worried
learning was by the by. the 21st century, the answer hunkering down, tightening American
heavy poet David
emphasis on the arts of cockiness, devoid of to death by a frown on the
As a result, I consumed what is the same as it was in belts, trimming what is Wagoner
too characterises
often excluded other responsibility.
Economic crises Forcome
our right man’s brow’ – Charles
I was told to consume and 1981, and probably much perceived as ‘fat’ from the creative process
professionals offeringasa children
and go. Theto be timecreative,
is now Brower, ad man, 1901-1984.
promptly forgot most of it. further back. Education is all parts of society. But consistingflavour
different of three distinct
of creativity. weensure
to need them that the to revel
valueinof
the process of training the creativity isn’t a luxury item; phases:
How about madman,
an architectpoet, their innerislunatic
creativity without
firmly embedded We need to find a way of
There is an exception. 30 mind; to succeed in that, as for creative learning, it’s critic.
refreshing GCSE literature? fear
in ourofschools…the
ridicule or censure better rewarding our schools for
years on, my knowledge we must be encouraged arguably more important A banker tackling world when
to theythat
ensure experiment
we’re more with fostering creativity. Schools
and understanding of the to ask questions, make than ever. The question is The madman
history fires off ideas
via economics? sharing their
resilient ideas. in
and flexible need to be empowered to
Vietnam War remains, at connections and pursue how to sell it in this market. – s/he
A more is spontaneous,
inclusive idea of the next downturn, embrace the madness now
least, above average: this knowledge and ideas based It’s not impossible. Consider undisciplined,
creative learning irresponsible,
– and After the exhilaration
whenever it comes. of the and again. If our education
despite it being only a on the particular chemistry the following three ideas. rash and,
where yes, a little
creativity ‘lives’mad
– free-flowing brainstorm, system is going to produce
four-week block of work in a of our personalities. This sometimes.
would benefit This madness
everyone. the creative process must, sheep, let them be funny
college prep course entitled is hardly a new concept. The first involves rebranding is an essential feature of of course, become more ones that can act.
merely, ‘World History’. Sir Ken Robinson said it creative learning in the the creative
Finally, impulse
ministers andbut it’s thoughtful and use the skills
I remember the teacher all more than a decade ago context of innovation, a word messy,
the emotional
general publicand need of the poet to hone and craft
and the coursework with a in Out of Our Minds, which almost synonymous with illogical.
to understand that many the raw, creative matter that
clarity that transcends time. itself was largely an artful future economic growth. of our competitors and has been spewed out. The
Critically, I can also trace commentary on the vast Economist Theodore Levitt collaborators are embracing fruits of this honing can then
any number of essential array of evidence pointing once said, ‘Creativity is creative learning as a key be subjected to the harsh
The sheep conundrum

Miles Bullough,
Head of Broadcast at Aardman Animations and Executive Producer
of Aardman’s sheep-based TV series, ‘Shaun The Sheep’ and ‘Timmy Time’
From the point of view creative process and is our creative achievements; needs of our industries, New ideas, newly formed, the raw, creative matter that
of our education system, in danger of creating a popular music, modern art, especially our creative so often sound bizarre or has been spewed out. The
creativity is a problem generation of dullards. fashion, quality television, industries, are being insane. Our frames of fruits of this honing can then
because it is chaotic. The tragedy is that we may reality television, overlooked. Our industries reference cannot always be subjected to the harsh
And systems abhor chaos. be producing unemployed architecture, literature, need more mavericks and contain the anarchy of raw glare of the critic,
dullards too. Education animated kids’ series individualists – original creativity. Our schools, internal or external.
When we look around advocate Sir Ken Robinson featuring sheep… minds with the confidence besieged by the requirement
schools for our kids and is right when he says that to promote the new, and the to test and score, cannot Yes, schools should teach
see clean and tidy art our education system is The rising popularity of skills to give the new both further their cause with their students the craft of
departments adorned with training students for a the English Baccalaureate meaning and resonance. output that cannot the poet and equip them
carefully presented studies society defined by the (EBacc) is marginalising be ranked. with the tools of the critic
(or copies) of the works of Industrial Revolution. non-traditional subjects Art, music, drama, textiles, – but with caution and in the
‘great artists’, we should be But the Industrial Revolution like music, art, textiles graphics, design and ‘Listen to anyone with an right sequence and at the
sceptical. In these schools, has been and gone, and languages. We are creative writing must be original idea, no matter how right time. Let’s not try to
creativity is being our education needs have witnessing the corporatisation taught not as potential absurd it may sound at first. do the work of postgraduate
scrutinised but it is not being changed but our educational of schools. Politicians are hobbies but as subjects If you put fences round courses at secondary
allowed to flourish. You can values have not. systematising educational which can help to give life people, you get sheep.’ – school. Let’s let our
mark a copy of a classic achievement into a meaning. How can we William L. McKnight, 3M children play.
work of art – but that Producing fearless creative quagmire of mediocrity. combat the stigmatisation Chairman, 1887-1978.
doesn’t make it creative. talent is surely the route to of creative subjects at Exposing the creative
prosperity for our economy. The perceived needs of school by politicians and Where creativity is impulse to the critic too
In the quest for measurable The things that make us industry are determining then by staff and even by concerned, children are all early causes creativity
results, our education proud in the UK and are how our children are being pupils who come to look about the madness. At its to shrivel and die.
system is sanitising the admired the world over are educated but the actual at creative subjects as best, childhood should be
being irrelevant to their a moderated celebration ‘A new idea is delicate.
future prosperity? of madness; spontaneous, It can be killed by a sneer
self-confident to the point or a yawn…it can be worried
American poet David of cockiness, devoid of to death by a frown on the
Wagoner characterises responsibility. For our right man’s brow’ – Charles
the creative process as children to be creative, Brower, ad man, 1901-1984.
consisting of three distinct we need them to revel in
phases: madman, poet, critic. their inner lunatic without We need to find a way of
fear of ridicule or censure rewarding our schools for
The madman fires off ideas when they experiment fostering creativity. Schools
– s/he is spontaneous, with sharing their ideas. need to be empowered to
undisciplined, irresponsible, embrace the madness now
rash and, yes, a little mad After the exhilaration of the and again. If our education
sometimes. This madness free-flowing brainstorm, system is going to produce
is an essential feature of the creative process must, sheep, let them be funny
the creative impulse but of course, become more ones that can act.
it’s messy, emotional thoughtful and use the skills
and illogical. of the poet to hone and craft
Every school should be a creative school

Mark Emmerson,
Principal, The City Academy, London
Having worked with With that structure in

the creative industries in place as students grow
school through creative and develop their creative,
partnerships what I was higher order, thinking skills
struck by that the creative must be developed. This
industries are outcome happens firstly through
drive, the successful people giving them limited options
in those industries are and modelling approaches,
able to combine the self but year and year should
motivation, and discipline transfer the creative process
2010
to work to a brief with a set to the students. I have
outcome in mind and deliver never seen creativity as
mber
at each project milestone. the preserve of the creative
e
s Dec
There is a drive for industries, I have always
completion which requires believed that the highest
Time
a professional structure to achieving students are
ay
the creative process. Within the most creative. The best
Sund
that process structure there mathematicians are creative,
is then the need for wide the best engineers are
ranging, creative thinking creative, the best
which goes beyond what entrepreneurs are creative,
the creative brief is and is and many people will pay
able to generate synergies an awful lot of money for
and holistic approaches a creative accountant!
which require high order
thinking skills. Great creative Creativity is therefore
professionals are also a product of good
collaborative and fantastic organisation, excellent
communicators in their motivation, some real
chosen media. knowledge or craft and
critical higher level thinking
I would argue that the best skills. Every school should
schools are planned and run aim for its students to be
along the principles outlined creative in every subject
above. In order to allow I have held fast to these
children to develop their principles in my educational
creativity, there must be leadership and expect to
certainty in the organisation see structure and creativity
as well as clarity in terms in every classroom in any
of outcome and deadlines. and every school I lead.
Why fairy tales? LOVE – a curriculum on human rights

Deborah Curtis,
Director of The House of Fairy Tales
and education for peace
Puneeta Roy,
Executive Director, Tehelka Foundation, India
he world is changing dynamically and within our lifetimes. This much Article 26.2 of the Universal them, but also imparts the for Peace is to educate
is uncontroversial. The human population of the planet has tripled within Declaration of Human skills needed to promote, students to become
half a century. Our gung ho plundering of environmental assets from Rights states the role of defend and apply them. peacemakers and to devote
deforestation to the fishing industry is changing the face of our present, educators in achieving the Education for democratic their talents, capacities
let alone our future. Meanwhile, reflecting this irresponsible stripping of social order called for by citizenship focuses on and energies towards the
our future assets, our financial systems are in a mortal cycle of borrowing the declaration: educational practices and creation of a civilization
as they create Ponzi mirages of ephemeral wealth in a growing desert. activities designed to help of peace based on the
‘Education shall be directed young people and adults tripartite pillars of a culture
All this seems rather pessimistic, you’re thinking. Shouldn’t we be to the full development of to play an active part in of peace, a culture of
speaking of something more cheerful, more optimistic? Forgetting the the human personality and democratic life and healing and a culture of
scary soothsayers of doom, sipping our drinks and giving thanks for our to the strengthening of exercise their rights and excellence. It would aim at:
delightful present? Yes, of course. Life is to be lived as pleasurably as respect for human rights responsibilities in society.
possible. We are incredibly lucky to find ourselves alive at this moment and fundamental freedoms. It Education for mutual • Equipping students with
in the cycle of life on earth. shall promote understanding, respect and understanding the knowledge, skills,
tolerance and friendship highlights self-respect, attitudes and confidence
My partner Gavin Turk and I have set up ‘The House of Fairy Tales’ as among all nations, racial or respect for others and the to resolve conflicts
our contribution to the resistance movement against this apocalyptic future. religious groups, and shall improvement of relationships peacefully, and to create
This is our Trojan Horse – a travelling art circus where anything is possible further the activities of between people of differing violence-free environments
and nothing is as it seems… the United Nations for cultural traditions. in their schools, families
the maintenance of peace.’ and communities.
The children and families who enter our worlds sign up to play a Human rights are not an
sophisticated and complex game where the rules are open and anarchic. Human rights education abstract idea but the • Creating mechanisms
There are no obvious right and wrong answers but there are definite is gaining recognition as expression of what all for teachers, students,
rewards if you know how to seek them with concentration on the tasks in a human right in itself. human beings clearly must administrators and parents
hand. There are often devil’s advocates hidden in our midst, encouraging Knowledge of rights and have to live fully human lives. to actively participate in
the debate, persuading children to behave in devious ways – to believe freedoms is a fundamental It is because human rights the building of inter-ethnic
in sweets – and in the past we have even had a false Guild of Witches tool to guarantee respect are so deeply rooted in what harmony, democracy and
encouraging no teeth brushing. This, together with the child- centred for the rights of all. all people need, want and a culture of peace in
approach, ensures that the children themselves discover moral codes will fight for that they have the school community
and motivations for themselves. Our audience, whoever they are, It promotes equality, been the basis for social and wider society.
or whatever background, become entranced by the attention and empowerment and movements and actions
focus their imagination. participation, as well around the world that have • Everyone is endowed
as conflict prevention and overthrown tyrannies, with human rights and,
The shared aim of all the artists and creatives we work with is to open the resolution. These three areas established justice, torn as a result, we all have
minds of our audiences – requiring them to question and explore; to feel are interconnected and down walls, improved the duty and responsibility
confident about their own imagination or opinion; to enjoy the pleasure essential within educational working conditions and to respect and make sure
of research without getting bored; to try new skills without feeling stupid; systems to prepare youth enabled freedom of that everyone can realise
to engage with complete strangers, even though they may be shy; to be active, responsible expression and learning their rights. Instead of
to recognise the importance of being challenged sometimes – even a little and caring participants for those denied them. limiting our individual
scared. Emotions such as fear and anger are valued in our events as much in their communities. responsibility, promoting
as pleasure and fun. By exploring these emotions in a safe environment, The full potential of this and protecting human
we encourage our future generations and their adults to feel fully A comprehensive education is only as realistic as our rights requires us to fulfil
themselves in an interconnected world – and by doing so, they are more in human rights not only willingness to work for, our duties as fellow human
likely to take responsibility for this precious planet in which we exist. provides knowledge about human freedom and dignity beings with all our
human rights and the for all. The primary aim and creativity and imagination.
mechanisms that protect challenge of an Education
It’s not just about the money

Sir John Tusa,
Chair of the Clore Leadership Programme, Vice Chairman of the British Museum
and Chairman of the Court of Governors for the University of the Arts, London
Over the course of boxes. UK arts schools ignores the immense wider excel in traditional academic That is going to change Our main priority must be
successive governments, are renowned worldwide benefits of education and disciplines but have strong what we think of as the to challenge the idea that
education in the UK has because our approach misses the whole point of creative abilities, and provide traditional university the arts are marginal,
been debated in terms is uniquely rigorous and why most students study a route to success for those experience – three or four obscure or of interest only
which, deliberately or not, challenging. Our successes arts and design in the who would otherwise be left years on a campus, after to the few. In fact, they
have reduced it to the are everywhere, from Turner first place. behind. We must build into which education ends and are crucial to our ability to
realm of the economic and Prize short lists and London our education system a careers begin. Instead think, explore and examine,
functional. Why should you Fashion Week to our homes The creative sector is crucial wider recognition that learning – and creative to our sense of wellbeing
do well at school? To win a and day to day lives; when to the economy, and our there are multiple kinds learning in particular – and enrichment, and to
place at a good university. you use an iPhone or graduates can and do forge of intelligence and multiple can become an ongoing our economic prosperity.
And why should you go to switch on a Dyson, you successful and prosperous definitions of success. opportunity for a much
university? To get a good job are benefiting from the careers in large numbers. broader range of people, Exactly the same is true
and earn a good salary. practical imaginations But money is not the The arts, no less than maths feasibly available at every of the arts schools that
of creative graduates. primary motivator for the and English, are central to stage of life. underpin the UK’s creative
Most of us instinctively know majority of students on our how we think, understand life with their uniquely
that the significance and However, creativity cannot campuses. Its use as a key and communicate, and they That is something to challenging approach to
influence of education and be predicted or prescribed. indicator of educational deserve to be a core part of be welcomed. education. They are vital
learning is far broader. And I can categorically promise success is worrying and the curriculum. to this country’s future
that is particularly true in the you that today’s arts and inevitably disadvantages and must be treasured.
case of the great British design students will be creative disciplines. I strongly oppose the
arts schools which underpin as revolutionary and as withdrawal of public funding
and feed the creative life innovative as their Already we can see the from universities and the
of this country. A creative predecessors, that they downgrading of creative subsequent rise in tuition
education ‘teaches you will shape the way we subjects earlier on in the fees. However, one
how to use your mind’, experience the world and education system. The arts beneficial side effect may
as University of the Arts that they will more than do not count at all towards be that universities will have
London alumnus Jarvis repay the relatively small the new English to become much more
Cocker recently told our (and dwindling) levels of Baccalaureate certificate, flexible about how they
latest cohort of graduating public funding invested in causing provision to be offer learning.
students. Describing the their learning. But I cannot cut back in four out of
ongoing influence of his tell you how and I cannot ten secondary schools, Given the costs they will
time at Central Saint tell you when. according to one recent incur, many students will
Martins, he added: ‘Still, survey. The erroneous view want to work while they
20-odd years later, at least And that’s a problem when that the arts are nice but study or take a break
two or three times a week universities have to justify not essential puts them at part-way through to focus on
there’ll be an idea that is their existence according to real risk as both time and paying off part of their debt.
linked back to that time.’ the bottom line. Of course, money in schools come They will expect universities
governments must regulate under pressure. to respond to their need to
It is both the blessing and universities. However, the learn how and when it is
the curse of a creative current focus on the That is a real tragedy. Arts convenient for them, whether
education that it does not employability and earning subjects are a lifeline for that’s part time, evenings,
fit neatly into quantifiable potential of graduates young people who do not remotely or intensively.
Another way in:

Apprenticeships in the creative and cultural industries
Pauline Tambling,
Joint CEO, Creative & Cultural Skills
I don’t think many people in The Goldsmiths’ Company, Further to this, though,
the cultural sector expected for example, has been colleges can only access
the newly-formed Creative running indentured apprenticeship funding
& Cultural Skills to make apprenticeships since 1334. through a relevant
apprenticeships a key skills These five-year programmes awarding body offering the
priority in 2006. Employers place an apprentice with a apprenticeship. However,
weren’t crying out for them; ‘Master’ and conclude with awarding bodies need
most said that they’d like the production by the to create apprenticeship
to have apprenticeships apprentice of a ‘Masterpiece’. frameworks, built on
for graduates rather than National Occupational
engage with younger people. In its more modern Standards (of which none But behind all these areas a burden on the employer. country. Put baldly,
However, as we survey conception, an apprentice existed for the sector). there are very specific Secondly, the nature of we’re missing out on a
the scene today, there works four days per week To create a framework from job titles. In jewellery, for their work is often more lot of untapped talent;
are around 900 level as an employee learning ‘on scratch takes at least ten example, there’s a gem erratic than that of a large apprenticeships are making
2 and 3 (roughly equivalent the job’ and attends a local months and is particularly setter, a polisher and employer. Portfolio working, a difference. Secondly, not
to GCSE and A-Level further education college difficult when awarding finisher, a diamond mounter seasonal productions and all the entry level jobs are
standard respectively) one day per week for bodies are sometimes and silver spinner – to name contract-based work all graduate jobs. Graduates
apprentices in the sector structured learning. This is hesitant over the business a few. To date, we’ve mostly mean that there are few use entry level jobs to get
from a standing start of zero a straightforward approach, case of developing new created level two and three guarantees that apprentices a toehold in the sector but
in 2008. We’ve made a start but I have since learnt of qualifications in an frameworks. However, it is will have steady work. often move on very quickly,
but there are a lot of lessons the challenges of applying untried area. vital to ensure that the To address this, we’ve set leaving small businesses
here about achieving this model of learning higher level apprenticeships up an Apprenticeship recruiting every few months
cultural change for a new, to the creative and Added to this complicated are created for young Training Service to employ and not getting the
fast-growing sector when cultural industries. process is the sheer people to move on to the apprentices on behalf of continuity or long-term
the education systems have number of areas where next level of their learning. employers and where we commitment they need.
been established for many The setup phase for an apprenticeship could can we let employers share Furthermore, certain jobs
years and move very slowly. creating the capacity for be developed. Since 2008, Creating the capability for apprentices to fit in with need real vocational skills,
apprenticeships in the we’ve established around an employer to take on an their work patterns. particularly in areas like
It may not be known to some creative sector has been 14 compliant frameworks apprentice is just one side technical theatre, and
people, but apprenticeships arduous and painstakingly in design, community arts, of the problem. When people Despite bureaucratic and therefore the apprenticeship
have been at the heart bureaucratic. Money for costume and wardrobe, live think of apprenticeships, they systemic challenges to our route is genuinely
of some of the most apprentices goes directly events and promotion, the think of large companies progress, apprenticeship more relevant.
established areas of the to training providers, so first music business, cultural and – BT and Rolls-Royce are development has led to
creative industries for off we had to recruit some heritage venue operations, often-cited examples of this. change. Already we’re Recent research shows
hundreds of years. colleges to our cause. jewellery and silversmithing. In the creative industries, seeing a major cultural shift. that employers are genuinely
though, challenges which Our sector has tended to impressed with their
would never occur to these recruit from highly-qualified apprentices and see the
larger firms are myriad. graduates willing to take on initiative as making a real
Firstly, businesses in the long-term free internships. difference in the sector.
creative industries are This has meant that we’ve It hasn’t been easy to get
usually tiny. With such limited our entry level jobs this programme going but
a large number of firms to a very particular group it feels like it’s worth it.
employing fewer than five of candidates; no wonder
people, the ability to take our sector fails to reflect the
on apprentices becomes social and ethnic mix in the
Creativity and education Creative learning for life, money, and love:
Trevor Phillips,
Chair of the Equality and Human Rights Commission
Yes, but first and foremost for the old
Michael Wimmer,
Founder and General Manager of EDUCULT based in Vienna
There are only two things innovatively and charmingly. might be, rather than as it is. At present, almost half of who take advantage of the the problems that a more
that matter in the 21st- Words can be the bricks Every child who has ever the younger generation of increasing impenetrability or less creatively educated
century world: one is that build bridges between read To Kill A Mockingbird, Spain has no hope of finding between generations. adult generation has
whether we can live with our us. They can also become or any adult who has been an appropriate professional produced with quite
planet; the other is whether the grenades that leave us moved by Schindler’s List occupation. The situation What might ‘creative sophisticated instruments
we can live with each other. glaring at each other across doesn’t need to read the is developing along similar learning’ mean for them? (and has so far massively
the abyss, often speechless many hundreds of clauses lines in other European Maybe it will no longer mean failed to solve). The other
On a planet that could one with anger at each other. of the Equality Act to know countries. It is no longer just education – not even a is to place full responsibility
day be home to up to nine Often this is the space what’s right and what’s the usual dropouts who lack different vision of education on young people to find
billion people, there’s plenty in which artists, poets wrong. One of the best any prospect of economic – when, eventually, the creative solutions for a new,
of space – as long as a and musicians work in decisions I ever made was prosperity, but also an reaction of society is: ‘We more integrated cross-
decent proportion of us a higher, more creative to invest public money in increasing number of do not need you’, or even, generational contract that
develop gills or learn to live idiom. Think of Daniel East is East – a play which well-educated middle-class ‘We do not want you’. More should nevertheless
on dirty air. Otherwise we Barenboim’s West-Eastern revealed more about what youngsters. The alarming likely, their ‘use of creativity’ maintain the privileges of
have two tools to cope with Divan Orchestra. our Asian neighbours were result: personal humiliation will lead to an outbreak of the languid but powerful old.
the frictions that come from really like than many years and a collective waste their frustrations, their
competition for water, energy But true integration of our of worthy articles and of resources. desperation, and also their This won’t work: it will
and food, and the frictions humanity isn’t, in the final documentaries made by anger, in a way that the lead to violence.
that go hand in hand with analysis, about managing for people like, er, me. Most of these European public cannot avoid noticing.
differences of race, religion, today. It’s about inspiring for youngsters passed through To avoid new conflicts the
gender and tribe. tomorrow. The work of the Law and politics can do a lot quite traditional forms of The adults of today in the only chance is to change
imagination is what most to prevent people doing bad education: a purgatory of corridors of power are our perspective. In this view,
Language is the only matters. Not a hundred laws, things. Creative work is what nerve-racking waiting, equipped with a high level stimulating the ‘creativity’
way we can negotiate our nor a thousand speeches, we turn to if we want folks absorbing and repeating. of education, unleashing of youngsters is not the
differences. In the task nor a million marchers can to do the things that make The privileged few became a remarkable degree of problem at all; they are
of managing our resources, ever match the impact of life worth living. acquainted with new ways ‘creativity’ in defence of their creative by nature. But how
we need to speak to each a single work of art that of creative teaching and ‘well-earned’ privileges. But can they realise their
other persuasively, shows us the world as it learning. They kept their through their actions, they creative capacities within
curiosity and their appetite increasingly demonstrate the existing frameworks of
for new experiences in a that societies cannot go adulthood? The problem is
world that – so they were on in the same way as they the ‘non-creativity’ of those
promised – would welcome have tried throughout the adults who have something
them and would be last 20 or 30 years – to lose and therefore
eager to make use of economically, politically, fear the full potential of
their uniqueness. socially or culturally. the youngsters.
They now find themselves As a first reaction, opinion To them I address my

unexpectedly in a one-way leaders demand that more recommendation: let us
street removed from public ‘creativity’ be stimulated develop ‘creative learning
attention. Here they are free within the next generation. programmes’ for adults to
to remain silent or to play But with this one-sided plea, give the creativity of the
creatively with their toes. they are burdening the youngsters a chance.
It will not change anything youngsters with at least two
as long as their reactions to unbearable weights: one is
involuntary exclusion do not to assign to them the task of
disturb the daily life of those finding creative solutions for
Piloting chaos with integrity and inspiration

Uffe Elbæk,
Founder of the KaosPilots Denmark, author and now Danish Minister for Culture
Interview with Christer Windeløv-Lidzélius, current Principal of the KaosPilots, Denmark
What did you and your movement, Bauhaus failure? This means that the To be a frontrunner, you None of the three can
colleagues want to and Beatnik; it’s quite the school board, management have to produce surprising solve the basic societal
achieve with this cultural and philosophical and employees must strive and thus inspirational challenges alone. The
education? cocktail The KaosPilots was to keep the school’s answers to the three basic problems are simply too
a significant counterpart entrepreneurial nerve and challenges below: complex and transgressive
We have often considered to the often rigid way of adventurous spirit alive. for such an approach.
the KaosPilots as a constructing education 1 How do we recreate
positive answer to youth that influenced most higher If the KaosPilots – that is, global sustainability and This is why we need people
unemployment but, to many, education institutions the board, management, environmental diversity? who are not merely able
it has meant more than that: at that time. employees and students to embrace the complexity,
influenced human potential, – sell out on integrity and 2 How do we learn to live in but who are also able to
moved boundaries etc. The KaosPilots’ cultural and independence, are not able an increasingly culturally act and create within it.
pedagogical DNA is strong: to view each new group of diverse society?
The KaosPilots was a particular process- students as the most
our vision of a fantasy analytical and solution- exciting talents the school 3 How do we ensure a
education, one that we oriented approach, the four has ever housed and are far more dynamic and
would have attended if it basic capabilities (opinion, not able to keep the binding cooperation
had only existed when we relation, change and entrepreneurial spirit and between the three old
were young. It had to be action) that underpin the desire for adventure alive, sectors – the private
a space of professional, specialised qualifications then the school’s raison sector, the public sector
mental and personal of project design, process d’être is truly threatened. and the voluntary sector?
development, where design and business design.
you were able to be The world does not
yourself – completely. And the challenges? lack challenges and
possibilities, and times
The KaosPilots coined the The first is seeing if the have changed since the
fact that the society we KaosPilots can protect its beginning. What are the
dreamt of actually already integrity and independence needs which students
existed; the school dares in a time of great forces face today? If the
to stand by its cultural and attempting to mainstream KaosPilots are the
political roots and thereby the school and include answer, then what could
its values and opinions. it in the established the question(s) be?
That is, a non-dogmatic educational system.
venue where the multitude We desperately need
of views is in itself valuable. The second is seeing if the people who are able to
The school has always held school management and create new solutions to
much room for differences. employees are able to be the dire challenges that
sufficiently open and the planet faces.
However, it is important to curious about the needs
emphasise that, naturally, and new ideas of each
the KaosPilots stand on the new group of students.
shoulders of a long line of
progressive personalities Finally, how do we ensure
and initiatives throughout that the KaosPilots’ desire
history, mixing the folk for success is always
school, cooperative greater than the fear of
Invest in your creativity – get a job!

Mark Compton,
National Programme Manager for New Deal for Musicians at Armstrong Learning
‘Plays bass alone!’ This • John had no job and to become a self-employed With the introduction of So, if provision for
three- word description of lived on benefits. musician. However, besides Flexible New Deal and The unemployed creatives on
a young person’s creative finances, two crucial Work Programme, NDfM the Work Programme is
endeavours was once sent • He was not a member of elements held John back: has ceased to be, with the patchy at best, and we know
to me in my capacity as a band, nor did he interact ‘employability’ was a skill last cohort finishing the there is little in the way
manager of the New Deal with other people in any neither school nor college course in August 2011. of funding for fledgling
for Musicians (NDfM) music-related activity. had adequately provided, So what now for aspiring enterprises, individuals must
programme. At first, I was and even if he did find work creatives who find therefore finance business
miffed, to say the least, at • His lack of money meant and develop with his music, themselves unemployed? startups with their own
the brevity of the statement; that he was unable to he was also given little The Work Programme money; which means
yet when taken in context, travel, attend gigs or other understanding of what delivery is described as having a job. If the UK
this succinct résumé events, pay for equipment, it really meant to be ‘black box’, meaning the is to maintain a creative
was both insightful and rehearse, own a decent self-employed. large companies that hold industries sector that
overwhelmingly poignant. PC with an internet the contracts can engage continues to buck the trend
The person the statement connection or top NDfM offered the support with a range of small of the stagnant economy,
related to (let’s call him up his mobile. needed by thousands of providers to bring our teaching establishments
John) was a newly-inducted individuals like John, individualised support, delivering creative industries
participant on the scheme. • He couldn’t afford to delivering knowledge of the tailored to clients’ needs. education must have
We catered for unemployed venture out regularly to machinations of the music However, in most instances, a stronger emphasis
musicians and related meet people he could industry alongside practical the results-based payment on employability,
practitioners who were have worked with. advice and guidance on how model drives large-volume, entrepreneurship and
referred to the course by to find sustainable work. Its one-size-fits-all delivery, self-employment. This will
their Jobcentre Plus office. In this situation, it would Open Learning model gave with precious little scope allow its students to prosper
Our aim was to move our be impossible for John access to an experienced for the out of the ordinary. without requiring the safety
customers towards their to progress his musical adviser for face-to-face This forces many creatives net of Welfare to Work.
music goals whilst helping aspirations, in spite of the meetings, freephone and to relinquish any ambitions
them to find work, be that fact that he had studied email information, advice they hold dear and be told
within the creative industries in his chosen field for two and guidance on both music to ‘get a proper job’, without
or a mainstream role. John years. The advice for John industry topics and any consideration of their
would have been described was clear and relevant to employability. There was long-term goals. This will
as being NEET, having many creatives: ‘Get a job provision of workbooks and include the many graduates
completed a music to invest in your career.’ a large number of value- who currently find
production course at college The real value of work here added initiatives, described themselves unable to secure
and subsequently finding is obvious; it enabled John as ‘outstanding’ by Ofsted. a job, alongside thousands
himself out of work for the to pay for what he needed Armstrong Learning who are gifted without
next 12 months. He attended in order to move on, but also operated the course the benefit of education.
a meeting with his music to begin networking, build nationally in this format We risk having the
industry adviser and the self-confidence and learn for six years. Although on talents and dreams of
result of their discussion on transferable skills. programme a mere 13 a generation quashed.
recent musical activity was For example, working in weeks, success rates for
captured on the paperwork a call centre will make you the 18-24 age group in
as simply, ‘Plays bass alone!’ confident on the phone finding work regularly
and introduce you to lots exceeded 50%.
Regardless of the scant of people; what freelancer
information available, I was doesn’t need that!
able to deduce the following: The ultimate aim would be
Forging a new culture of

learning for a digital age
Martin Melarkey,
Senior Cultural Programmer (Communities and Education),
Derry-Londonderry UK City of Culture 2013
As the UK’s first City of Culture in 2013, Derry-Londonderry’s vision for 2013 is inspired CCEA has also recognised the need to work closely with organisations such as the Nerve
by the fusion between art and learning pioneered by Derry’s sixth-century founder, Centre to develop new vocational qualifications that challenge both teachers and young
St Columba, whose monastic order created the Book of Kells. Derry’s year-long cultural people to be creative in the classroom. The Moving Image Arts GCSE was launched by
programme will explore the role of creativity within education in an endeavour to forge CCEA in 2003 as a new digital qualification offering access to the same high level of
a new culture of learning for a digital age. creative practice in filmmaking that students of art & design and music have come to expect.
The subject combines the making of short films and animations with the study of film
In 2013, the city has a chance to show exactly how, from primary school to third level theory, assessed through a unique online examination.
the curriculum can be taught through creativity and the creative application of digital
technology – how writing a song or composing a poem for podcasting, taking a digital Film and the moving image also have an important role to play in promoting knowledge
photograph or making a video, drawing a digital comic book or animating a story, and understanding about the past in a society emerging from conflict. For one of the major
can revitalise subjects that are currently failing to engage many young people. challenges presently facing Northern Ireland is how to remove the barriers to engagement
with divided history and identities that exist within a largely segregated education sector.
The aim is to galvanise schools to become hubs of creativity at the heart of their local
communities, opening their doors after hours for arts-based learning programmes catering A partnership between the Nerve Centre, the British Council and CCEA has recently
for young adults, parents, the unemployed and senior citizens. This will allow the city to secured major funding from the EU Peace III Programme to support Teaching Divided
tackle underachievement directly; provide a second chance for those who have never Histories – an international conflict education project that seeks to give teachers the
benefited from a creative curriculum; and get all sections of the community involved in confidence, skills and the specific kinds of resourcing and support that will enable them
creating art, learning digital skills, publishing their own images, poems, video and music to explore contentious history and identity in the classroom.
on the web, and sharing their stories with communities around the globe.
Over the next three years, the project partners will work closely with a core group of
Almost a decade ago, the first of Northern Ireland’s three Creative Learning Centres was teachers and educators from post-conflict or fragile countries to develop and pilot a range
opened by the Nerve Centre along Derry’s historic walls. Training teachers in digital skills of learning programmes that use film, digital photography, animation, comic books and
and pedagogies that open up new pathways to learning for young people of all levels podcasting to enable young people to explore common experiences of violence and peace
of ability, the Creative Learning Centre promotes models of hands-on learning that: building. The teachers will be trained in a range of creative and critical skills so that they
can help students in the study of history and conflict and offer them stimulating ways to
• fully exploit the potential of creativity to link together different areas of the curriculum interrogate myths and challenge sectarian stereotypes.
and offer young people a holistic learning experience
In 2013, Derry-Londonderry will offer an international platform to showcase these
• develop generic, transferable skills in a variety of areas of the creative industries new models of curriculum development and to make connections with all of those
groups and individuals across the world who are working to redefine the role of
• bridge the divide between school and the home. education in the 21st century.
All of this has been made possible by the new skills-based curriculum introduced into
Northern Ireland in 2007 by CCEA (Council for Curriculum, Examinations and Assessment).
This more open and flexible curriculum is based upon ‘the need to focus on the
development of skills and to approach learning in a more connected way… Employers want
young people with cross-disciplinary skills, who can work together and apply knowledge.’
(CCEA’s Pathways strategy document).
Making a solar system

Niel Maclean,
Business Development Director for digital products at TSL Education
and former Director of the BECTA Home Access Programme
Some time back in the Corona (showing my age), Secondly, teachers can Thirdly, whatever anyone teachers’ own creative are also available to
1980s when I worked in but you can’t ‘deliver’ act as a critical friend, says, creativity can be impulses. The stultifying teachers. Even as we speak,
a local education authority, learning. Just as the challenging ideas and taught; by which I mean it environment I described at thousands of teachers are
I remember visiting a Plowden report in the pointing them to ways of is possible to help someone the start of this piece had creating their own resources
struggling boys’ school. 1960s had introduced the doing things that may be become more creative sapped the creativity from and sharing them across the
I was shepherded down notion of ‘learning by doing’, outside the young people’s than they were by teaching the teacher just as much as globe. Through the power
a dingy corridor to the room the technology now afforded immediate experience. them some relatively it had demotivated the of the technology, they are
where the meeting was to ‘learning by producing’; They can help young people straightforward techniques. learners. The good news, reaching global audiences.
take place. The paint on the if you want young people to develop the theoretical of course, is that the great Perhaps we should find a
ceiling peeled, the blinds understand music, movies, underpinnings that drive up But we can’t expect teachers technology tools that are way of celebrating this new
hung off the wall, the desks mammals or the solar quality. A couple of years to help young people develop transforming the way ideas form of celebrity.
were uneven and the few system, get them to make ago, my then eight-year-old their creativity if we don’t and products are created,
yellowing pieces of pupils’ one. Perhaps not a real one and his friends were making recognise and support developed and distributed
work stuck to the walls in the last two cases, but a ‘scary’ movie using a low-
(it seemed to cover some the process of making and cost digital video camera.
inexplicable stains) added to modelling in the external Some of their ideas were
the post-apocalyptic feel of world where ideas can be simply brilliant, but every
the place. I asked what was discussed helps the learner scene looked the same.
taught in the room. ‘Design’ construct their internal Even though they had direct
was the answer. ‘That’s a mental models. experience of watching
great idea – you’re getting scenes shot from the point
the pupils to redesign the So what about the teachers? of view of the monster or the
room!’ I said. ‘No, we teach Should they just get out of hero, the technique hadn’t
design here,’ came the reply. the way and let young registered and they hadn’t
It was patiently explained to people get on with it? No. used it in their own video.
me that the exam curriculum I think teachers have at least We looked at a few
was too full to fit in such two roles. Firstly, creative examples from films they
strange ideas. responses come from liked and games they
asking great questions. One played, and they worked
Fast forward 25 years and slightly gruesome one I used out how to manipulate the
the world has changed in a maths lesson was ‘if we camera to get the effect
immeasurably. The new drained all the blood from all they wanted. After a few
technologies have put in the people in the world and weeks, my son was pointing
young people’s hands the poured it into the sea, by out that the effect was
tools to create, develop and how much would the sea overused and we started
distribute their ideas, with an level go up?’ Even though talking about how even the
explosion in creative activity. the answer (a salutary most exciting techniques
reminder of the scale of and ideas can become
In the early days of the things) is fixed, in the days clichés with overuse.
internet in schools, I became before the internet gave
increasingly angry with immediate answers, the
bizarre phrases such as children had to come up with
‘delivering learning to the creative ways of estimating
desktop’. As I (and others) the world’s population and
ranted at the time, you can the area of the earth which
deliver letters, coal and is covered in water.
Schmidt, Leonardo and video games

Paul Durrant,
Director of Strategic Business Development (and Dare to be Digital pioneer), Abertay University
When Eric Schmidt delivered the potential to diminish University, we are embedding academic research teams studio’ must be harnessed. from primary to tertiary,
the MacTaggart lecture at the whole if it happens at it across all our courses and and together deliver powerful If they haven’t progressed the all based around real-world
this year’s Edinburgh the expense of arts funding. disciplines via our staff mathematical modelling and concept, it is disappointing, problems and projects.
International Television The right answer has to be development programme visualisation solutions in but all will not be lost. Vested interests must be
Festival, his views regarding to fund interdisciplinarity. (a Postgraduate Certificate entirely new (to them) This power from the sidestepped. Sector Skills
UK education were widely in Higher Education disciplines – such as cancer creative industries should Academies need to
publicised. Whilst most of Schmidt harked back to the Teaching with workplace therapy and environmental be captured and injected be founded on an
the 560 comments on the Victorian era, citing Lewis simulation projects). science – all powered into whatever portfolio of interdisciplinary critical mass
BBC Technology pages Carroll as an artist and by games tools TICs is eventually funded or risk failing altogether.
subsequently focused on scientist. There are plenty There are other creative and technologies. to ensure that the potential
his surprise about computer of other examples from industries too where art and of creative interdisciplinary Let’s heed Schmidt, Hope
science not being part of history, not least da Vinci science have remained well By the time this piece is teams is properly mobilised and others with their
the UK schools curriculum, and others’ apprenticeships entwined (architecture and published, the Technology for economic impact. wake-up call to education
he also called for ‘art and in Verrocchio’s highly filmmaking, for example) Strategy Board will have The crucial thing is to ensure so that we can look forward
science to be brought back interdisciplinary workshop. and their studio-based decided whether to invest that ‘discipline’ silos and to a future where our
together’; and, interestingly, learning model produces in creating a Technology and ‘activity’ silos are discarded interdisciplinary studio-
that attracted much The typical video games fabulous creative and Innovation Centre around so that research properly based academies – joined
less attention. development studio mix of engineering problem solvers. the creative industries. allows skills and creative up at all stages of education
art and science is a classic If they have progressed portfolio development, and – are powering economic
Of course, the computer exemplar of that; although, The main opportunity for the idea, the opportunity to that artists and engineers growth in the UK, to the
science call is a significant sadly, we don’t see many the creative industries is ensure that the investment work to enhance each envy of all others.
argument – one that actually examples of developers actually much, much bigger also provides a present-day, other’s learning and
the UK video games and hiring talented young than this. Creative teams highly scaled ‘Verrocchio’s curriculum development
VFX industries have already apprentices unless they from architecture, games
made via the Next Gen skills have a good university development and advertising
report. However, it is degree under their belt and (for example) are used to
interesting that when Alex a bulging portfolio – and working across disciplines,
Hope, Double Negative even then, the graduate hire harnessing engineering
CEO and one of the report’s rate is low. This may be a and technology where it is
authors, was interviewed in factor of the issue that Next needed to deliver effective
the Next Gen launch film, Gen is trying to address. solutions for clients. As they
he too said something to the engage in that process,
effect of, ‘my ideal graduate In 12 successive years of a phenomenal learning
hire would have a first in Dare to be Digital I have engine is created that can be
the arts and a first in maths.’ seen how teams of arts opened to the apprentices of
Of course, Next Gen didn’t and science students have the future. In addition, many
attract the mainstream produced incredible results of these project teams could
headlines that Schmidt did, when they team up and tackle problems from outside
but at least it was work alongside mentors in their core area of interest.
commissioned directly by a hothouse environment with In particular, at Abertay
the government – though real deadlines and industry University, we have also
it remains to be seen if the standards. This arts-and- had exceptional results and
DCMS can get anyone to science workplace simulation achievements where games
listen at the DfE. Likewise, model doesn’t just have to graduates, well versed in the
the tendency towards STEM apply to the obvious things arts and science team mix,
funding prioritisation has like video games; at Abertay join multi-disciplinary
107
106 www.creativit ymoneylove.co.uk
A little more learning by doing

Ellen O’Hara,
Head of Business Development , Cockpit Arts
As well as being craft During the summer months,

entrepreneurs and involved in running a
the head count within The Future Jobs Fund and to use such an oppor tunity
employers, around a quarter Cockpit Arts studio the mirco business! But many
New Deal of Mind’s Creative
s as a springborad for their
of designer-makers based at by about two thirds swells graduates lack these key
Placements are two
as an skills and attributes. own solo career as a
Cockpit Arts are part time influx of eager interns and excellent examples of
This is not an argument maker, rather than a
tutors, technicians and work experience placements for programmin schemes that work for both
g business pathway to employment,
visiting lecturers. This makes fill the building. the placement student
Throughout modules into craft based and programmes must be
the theme of education, the year, over half of and employee. One intern
courses though; rather structured with this in mind.
creativity and employment businesses outsource I spoke to last week
a rather hot topic in the a case for guidance in
manufacture, often to other explained that she’d learnt My opinion is that a little
Cockpit studio corridors. professional practice,
skilled makers. And the more in 3 months on her more learning by doing
and entrepreneurial skill
seasonal nature of the craft Future Jobs Fund internship would be welcome across
Opinion is divided on development throughout
industry creates many other than in the final year of her the educational system.
whether current course the educational journey.
freelance work oppor tunities We need to equip degree. This type of model Specifically more time and
structure and content is makers also provides potential
in administration, marketing for the marketplace , space in the workshop, to
fit for purpose in terms of and sales. Just seven employers with essential
whether as an entrepreneur work with one’s hands,
nurturing technical skill. One percent of recruitment support, an
businesses at or intrapreneur. nurture manual competency
to one tutoring time seems Cockpit currently employ invaluable means to test and experience the intrinsic
to be diminishing, with more on a PAYE basis however, the water with employment,
A lack of industry and market benefits that this practice
reliance on self direction, and national workforce data awareness among craft and develop their people brings. It seems to me the
facilitated by technicians. provided by CCSkills (2011) management competencies.
graduates is commonplace most practical next step is
The jury is out on what the echoes the fact that 77% in my experience. And few for fit for purpose placement
‘right’ balance is between of craft businesses employ There is a definite
students, it seems, are and apprenticeship
having the freedom to less than five people. The willingness from
made aware of the broader schemes. Schemes that not
explore ideas versus reality is that many makers employers to offer more
employment oppor tunitie only nurture technical craft
nurturing practical skill to opt for self employment, with within the craft secto s apprenticeships and a skill, but also encourage
create a specific finished r. recognition that they are
employment often acting Whether industry entrepreneurial thinking in
product. What is certain is as a vital stepping stone. vital in maintaining and
experience should be a real world environment,
that craft based courses furthering both traditional
an obligatory element of and are accessible to all.
are shrinking and those So what are craft employers degree level cours and contemporary
es is Organisations like Cockpit
that survive are often looking for? Dexterity, craft skills. But good
debatable and also depends can play their role in
underresourced. attention to detail and apprenticeships are hard
on the willingness of supporting craft businesses
An increasing number strong technical skill, or the to find, and even harder
employers to provide to become profitable
of students are emerging potential to develop this, to fund. Employers would
structured and meaningful enough to invest in people.
with a lack of specialism, are of course a must. But benefit from both brokerage
oppor tunities. All too often But we also need continuity
of practical problem solving professionalism, passion, and financial support, as
these oppor tunities are in funded programmes to
skills and of confidence resilience and initiative are well as coaching to ensure
unpaid, creating financial make a lasting impact and
in handling materials. also high on the agenda. that apprenticeships are
barriers for those who to better imbed good
Essentially, not enough Not to mention the ability structured, well managed
cannot afford to work for practice in the sector.
learning by doing. to turn one’s hand to the and add value. Again, there
free. And brokerage support
myriad of other tasks needs to be a recognition
is patchy at best.
that the apprentice is likely
Don’t set yourself to formula

Daniel Michael Brown,
Founder or B.R.A.T (Beyond Recognition And Trend) Presents Ltd
Imagine being constantly overcomes everything’ need people who are

labelled and identified with (George Lois). These creative and can think
limiting stereotypes. Well, statements articulate independently. I don’t believe
that was my experience, as and encompass the key to that creativity has ever been
it is for many young black unlocking young people’s underappreciated within
males, during most of my potential and creativity. society; it’s just that
youth, which is the time creativity has now become
when, like everyone else, It was while working at a a necessity. It is time we
I developed my identity and leading creative agency move beyond the existing
character. It was during this that I first truly embraced structures that people are
time that I created B.R.A.T and understood the power unhappy with and solve the
(Beyond Recognition And of creativity. During my time pressing issues of our time:
Trend) to challenge and in the advertising industry, namely, climate change,
separate myself from the I realised the value of the inequity, inequality and
limitations and negativity conscious creative moral injustice. These
by which I was surrounded processes that exists in challenges are only going
and identified. This is my the advertising industry. to be addressed through
testimony to the power of I also recognised that it creative solutions, just as
creativity and self-expression, was becoming essential I had to create and

T he seeds of hope can best be seen at a local level, in the
countless examples of grass roots initiatives, where people come
as the simple act of creating
B.R.A.T has directed my life
ever since its manifestation,
for young people like me to
develop their collaboration,
leadership and creativity
manifest B.R.A.T to
address the challenge
of limiting stereotypes.
together – not just to compensate for the failings of government leading to me winning an skills, as these skills are key
– but to affect real change. In my own field of community media UnLtd award and a grant to to thriving in the emerging ‘No country which wishes
we daily see the value of making creative tools available to the establish B.R.A.T Presents age of globalised to secure the future of its
public – in the case of the Engine Room in Bridgwater through Ltd as an organisation economies, scarce citizens can, or even may,
the provision of a year round accessible high street drop in centre committed to the mission resources and deeply afford to leave undetected
offering facilities and equipment supported by advice and of ‘moving young people complex challenges. and unsupported a major
expertise. Coupled with outreach projects, centres like ours to create the lives Through this understanding part of the intellectual and
create informal learning opportunities for all ages and for many they deserve’. and experience, B.R.A.T creative abilities of its
of those who fall through the educational net, left wanting Presents Ltd has developed young people’ UNESCO.
(as I was) by schooling, frustrated by circumstance and by the It is clear that today’s youth a programme and curriculum
prevailing ideology which too readily writes people off for any are becoming increasingly entitled, ‘Don’t set yourself
number of convenient reasons. marginalised and to formula’, which is
disenfranchised in society designed to ready
In a competitive climate of getting and spending it is critical that as a result of record levels young people for the
people have an opportunity to explore their creative potential, of youth unemployment and creative economy.
to develop understanding and knowledge from becoming citizen other political, social and
producers rather than mere passive consumers. economic factors. As it has The fact is that, in the
been said, ‘Creativity is the 21st century, jobs and
PH I L SHEPHER D ability to generate innovative competitiveness depend
The Engine Room, Bridgwater ideas and manifest them absolutely on the very
from thought into reality’ qualities that school systems
(Albert Einstein) and, are being forced to tone
‘The creative act, the down. Businesses
defeat of habit by originality, everywhere say they
Not from the sidelines

Shonagh Manson,
Director of the Jerwood Charitable Foundation
This argument is by no means one you haven’t heard before, but I’m Far from being sidelined, creative ways of learning should be
going to make it again. It is one that is vital not only to ensure the embedded within all subjects in order to make gaining knowledge
thriving nature and fitness of our creative and cultural industries, but more meaningful and more broadly accessible. As this government
for our broader culture and society to develop and to grow truly rich. sets out to establish how societal wellbeing might be measured,
never mind achieved, we are more than ready with evidence in their
Education has long been the means by which we explore and gain language about the economic sense of embedding creativity in
intellectual knowledge and skill, but without developing our education – for those who are willing to hear it.
emotional capacities in tandem, we are simply not making a
well-rounded society capable of the growth, diversity and continuity It also seems apparent that the value system around education in
that we seek. This is the kind of fully-functioning society that we our society is out of step with the realities and opportunities with
are going to need to be if we are to cope with the exponential rate which our economy, societal structure and exponentially growing
of change of the 21st century. population provide us. We have an academic higher education
system which neither government nor individuals can, broadly
I want to make the case for the value of working on the human speaking, afford. This same system produces, in many subjects,
scale and for whole person development within education. We need many more academically trained individuals than there are suitable
to be nurturing a society whose members can reason, judge and income-earning opportunities.
decide, but who do so with emotional intelligence, respect and
imagination. When I imagine a healthy education system, and by The academic system did not historically develop with the purpose
that I mean any vocational and/or academic system of learning, it is of preparing its students for vocational employment and yet it is
one that explores and holds in high esteem emotional competence entered into by individuals who expect that it should make them fit
alongside core intellectual or practical skills. One that does so by for purpose. And a degree is seen by an employer as a qualification
leading in both what it teaches and in the way it teaches it; by relating to this fitness for purpose in the jobs market when often
exploring thinking and feeling. it simply is not.
Now it seems a given to me that if you want to achieve those kinds What we need to work really, really hard on is overcoming the
of aspirations then you certainly can’t force still further a hierarchy that places academic study above vocational training
hierarchical divide between what are and aren’t considered core or experience. We need to work at raising the fundamental value
subjects of worth. It is a most terrifying idea to me that anyone (as well as increasing the number of available opportunities) of
would attempt to say that studying art history, musical composition pursuing vocational and experiential pathways as well as academic
or a foreign language is worth less to society or to an individual ones, to create a level playing field for a broader and more balanced
than studying mathematics or understanding the periodic table. society. Quite frankly, it’s still our snobbery that is holding us back.
This way of thinking displays little imagination. An engineer needs To be prosperous does not mean to be financially rich – it means
to grasp the potential of drawing as a means of expressing ideas, to flourish. We all need a reason to be prosperous; we need to care
just as a city planner must be able to envisage what it should feel and to be sufficiently invested in our society to want to play a part,
like to be part of a community. A scientist can never disengage and find fulfilment, in it. And for that, we cannot survive without
from ethics nor should a nurse from their patients’ social and creativity and without nurturing the potential of our imaginations.
emotional reality. We are guilty enough within the creative and If our young people are starved too early of a diversity of subject
cultural industries of ghettoising disciplines and practice, and our and learning routes – of ways of exploring their world which they
understanding has to expand – the world is just more complex than can feel are valued – we will ultimately risk being poorer in diversity,
that. And there is plenty of evidence that there is a plethora of creativity and perspectives in our future society. And that,
different ways in which people learn deeply and well. to me, seems too big a risk to take.
Freedom, fire and facts

Sally Bacon,
Executive Director, The Clore Duffield Foundation
W. B. Yeats’s quote about makers and exam boards, of life and not just for their the General Secretary of creative economy if the arts Australia are taking
education is well known: nor of government ministers, entertainment value.’ the Association of School do not remain statutory to Shelley’s ‘imagination
‘Education is not the filling yet they are at the heart and College Leaders, has the National Curriculum at imperative’ as a given for
of a bucket, but the lighting of quality cultural learning. And Australia is not alone. stated to the CLA: ‘All Key Stages 1 to 3; if arts both personal attainment
of a fire.’ Richard Layard, It is fascinating that policy The 2011 report from students need a proper subjects are not included and fulfilment, and for
in his landmark 2009 report makers in Australia and President Barack Obama’s grounding in basics such as a formal strand in the national success. From the
for The Children’s Society, America are currently Committee on the Arts and as literacy and mathematics, English Baccalaureate; if CLA’s perspective, cultural
A Good Childhood, turns unafraid to confront this Humanities is unequivocal in but the curriculum must children’s centres, schools subjects have depth, rigour
to Yeats when he writes that agenda – and this language asserting that the arts and also be flexible enough to and academies can still be and an established canon
schools ‘should expand the – at a time when policy humanities should be part of motivate them, inspire their judged beyond ‘satisfactory’ of knowledge. They are of
powers of the mind, and makers in England are the education of every child. creativity and allow them to by Ofsted without offering equal weight, status, and
they should enrich the spirit. moving in an altogether Entitled Reinvesting in Arts develop a range of skills… a broad and balanced value within the curriculum
Both these roles are vital.’ different direction, Education: Winning What is really needed is curriculum which includes as other subjects, and
The same report reflects, both philosophically America’s Future Through a broad and balanced the arts and culture? require equal resource
refreshingly, on what and linguistically. Creative Schools, and based qualification which We must have a statutory and provision. And if you
elevates the human spirit on extensive research and encompasses the core skills framework for the delivery want hard data, not poetic
and alights on the feeling In August 2011, the consultation, it is clear in of numeracy, literacy and of cultural learning in the metaphors, cultural learning
of belonging to something Australian curriculum asserting that an education ICT; creative skills through UK, or we risk seeing it has clearly evidenced
bigger than oneself which authority published Shape without the arts is the arts; softer skills like losing ground in the face educational and social
can come from (among of the Australian Curriculum: incomplete: ‘Failure to invest communication and problem of the subjects which remain outcomes: attainment,
other things) music, dance, The Arts. Under the new in a well-rounded education solving that are in demand statutory. Why are we in attendance, attitude and
drama and painting. Even curriculum, students will for our children will thwart by businesses; as well danger of walking in such wellbeing are all improved
Albert Einstein felt that study five arts subjects from our efforts to lead in a new as GCSEs, A-levels and a different direction to the by engagement with
the arts and sciences were their first year of school to economy where critical vocational qualifications.’ US and Australia in this area cultural subjects.
branches of the same tree the end of primary school. thinking and creativity will of public policy right now?
in being ‘directed toward Once in high school, be the keys to success.’ The arts and culture And what do we risk losing Steve Jobs once told
ennobling man’s life, lifting students will be able to start animate our learning if we do? The New York Times that,
it from the sphere of mere specialising in one or more These latest developments environments; they give us ‘The Macintosh turned out
physical existence and of their favourite arts in education in America and experiences to share with Returning to Yeats’s so well because the people
leading the individual subjects. Schools will have Australia throw into sharp parents, carers and the local metaphors, his observation working on it were
towards freedom.’ If this a high degree of flexibility relief the process currently community; and they brings to mind Shelley’s musicians, artists, poets
degree of convergence on over implementation. taking place in England – change lives. Children and much earlier (1821) and historians – who also
education matters can be Australian Arts Minister where the arts and heritage young people discover their observation, when writing happened to be excellent
found among leading poets, Simon Crean has said the sit in a precarious position. talents and develop their In Defence of Poetry, computer scientists.’ And
scientists and social arts curriculum will ensure England risks falling behind lifelong interests through that poets are the didn’t they all change the
scientists of different eras, young Australians have if its government fails to give cultural learning. We need ‘unacknowledged legislators world? We urgently require
why should policy makers access to learning in the cultural learning the same the arts and culture to of the world’. Our elected some new political
find this area so difficult? creative arts: ‘That’s why the weight, attention and – remain an educational legislators should take leadership on this agenda
development of a renewed crucially – political entitlement in order for note. Shelley may well be if we are not to lag behind
A Good Childhood calls for National Cultural Policy is leadership. The Cultural students to go on to suggesting that poets exert and fail both our school
an education system which vital, because the creative Learning Alliance (CLA) is become leading thinkers, some sort of exemplary children and our economy.
embraces personal growth arts empower the individual making the case for cultural innovators, creators and moral power, but his And we need leadership
as well as the acquisition and underpins expression, learning in the UK at a time creative business or assertion also implies, which doesn’t always feel
of facts. Personal growth, tolerance and inclusion,’ when clear financial and community leaders. more widely, that the power that it must wield a bucket
enriching the spirit – these he said. ‘The arts are policy pressures abound. But can we build a vibrant of the imagination cannot and a tape measure –
are not the phrases of policy fundamental to our way As Brian Lightman, knowledge, innovation and be ignored. America and or throw water on the fire.
One size fits all, fits nobody

Paul Latham,
Chief Operating Officer, International, Live Nation Entertainment,
and Chairman of Creative & Cultural Skills
Interview with John Kieffer
How do you see the the creative and cultural Most employers in our
education and skills sector industries are blessed that business don’t think about
in relation to the creative sometimes we can ignore what they want because
industries as a whole but technical competences for of the surfeit of volunteers.
also your business? the ‘halo effect’. People Internships are cheap labour.
always want to work with us, A lot of middle class parents
One of the problems with so as long as we have a will support their cherubs
the music business is that good enough ‘filter’ we will in pursuing their desires
we’re seen as a ‘sexy’ always find people we can because there are not real
business and we’ve never use and abuse. jobs out there. That doesn’t
been short of people develop your current
wanting to work with us. With Live Nation I want to workforce. Cheap labour
As someone who recruits, have an HR approach that does not fit into my mantra Part of my vision for Apprenticeships are a example by bringing in
sometimes you are takes account of the way in any shape or form. Creative & Cultural Skills three-line-whip from my some joined up thinking and
frustrated that given the that people are as individuals. You should be seeking to is that if somebody has a point of view but they are making sure 13- or 14-year
thousands of applications Although we are of course better all your employees natural talent or a learning prospering. Yes I force the olds are told that it’s a big
you got, you didn’t know commercially minded at Live including the aspiring ones. desire to work backstage managers to take them but bad world out there and yes
how to choose between Nation, I want to employ and be the best rigger or then they actually see the you need to do your core
them because qualifications people and give them a What about the best lighting designer benefit and even ‘been subjects. But is there
have become meaningless chance because I’ve seen apprenticeships? that they use CCSkills as there, done that’ managers anything above and beyond
in a way, as so few of them the gaps in the education the conduit. I want people get enthused. Everyone is that saying that you are
have direct relevance to jobs system and the gaps in our All of my venues have to know that CCSkills exist paid the going rate. There’s showing signs of being
in our business. So you thinking on recruitment. apprenticeships. When and there are careers that no cheap labour. They get naturally talented in painting,
either set a threshold that We were cutting ourselves I came into Live Nation are not at the behest of a sense of worth and it is singing, or for that matter
becomes false; i.e. ‘I must off from the latent potential we were only taking degree Simon Cowell or his next reciprocated. It’s not just accountancy? At the
take somebody on who has of those who have talent calibre students into our demonic incarnation. altruistic. There is a moment it’s one size fits all
a degree’ and it doesn’t but for whatever reason management programmes resonance from this and it fits nobody. There’s
matter if it’s in nose flute haven’t got the relevant and I wanted to run a twin I want the National Skills enthusiasm. They see us no guidance and we in the
playing or horticulture. paper qualifications. track recruitment scenario Academy for Creative & giving a real opportunity to creative sector must do
with apprentices starting Cultural to show that it people previously excluded that. People need to
There’s a premise that they So you could say the at 16-18 in supernumerary is not like running off to by their education or their have the truth.
have done three years of system is actually working positions learning on the job the circus and giving up on lack of wealth and that
study and therefore they against what you need? alongside their college work. a real career. This is one makes people feel And finally
must have a modicum of They build up their of the few areas of the better about their
sense, which latterly I have It is, totally. The link from educational portfolio and economy where there is real work environment. I don’t think we should feel
started to find slightly schools to training to hopefully they will stay with expansion. Partly because bad about ourselves but
egregious. I realised that employment is fundamentally us. We will still employ some there are fewer jobs – The creative and cultural we can’t put ourselves out
I didn’t do a degree, I didn’t broken. In the 60s, 70s people at degree level but in leisure time is increasing. sector will never cure on a limb. I think we should
do my A levels and now I’m and 80s there were a huge a couple of years I will want How is it funded? That’s unemployment. We can take our proper place in
running the largest live amount of manufacturing to compare them with those the conundrum. however show that there is the pecking order. Any
entertainment company in jobs. Only the very brightest coming through the a better way and lead by society that has culture
the world. I now wouldn’t kids went on to academia. apprenticeships when at its core will be a better
get an interview with me! Now those roles don’t exist they are 21. society but you can’t be
and education has taken the happy and sing and dance
In terms of skills and place of employment for if you’re hungry and you
qualifications, we within some young people. can’t read.
CreativityMoneyLove
So What?
Shelagh Wright, John Newbigin, John Kieffer and John Holden
In his recent MacTaggart embrace the digital and bracing new world of
lecture the CEO of Google, revolution and, creativity and the knowledge
Eric Schmidt, spoke of the in consequence, failing to economy. The great irony
energy and inventiveness engage many young people. is that many of them have
of Victorian Britain as looked to our country for
‘… a time when the same Here are some of the inspiration in that process.
people wrote poetry and perspectives we need to Meanwhile we seem to be
built bridges’. Most of us keep in sight, if we are going heading off in the opposite
want that kind of richness to change for the better. direction. As Geoffrey
and diversity to run through Crossick puts it – if skills
our communities. We all We must embrace risk– become about ‘security
know that any worthwhile there are no safe bets rather than risk, the strength
process of education must any more. of the creative economy
attend as much to things will be undermined’.
spiritual and social as to We are tinkering with
things material and change. Our learning and Technology is
intellectual. We want an education systems are transforming interactions
education that teaches moving inexorably towards a and expectations
us how to build the bridges narrow focus on employment
between these different and, in doing so they hold It’s become an almost
realms, not re-enforce their out a false promise. In his tedious truism that the
separation. And we know contribution, John Tusa Internet has transformed
that bridge-building goes sets out and challenges the way we learn and share
well beyond debating what the traditional route – Why knowledge. But far from
should or should not be do well at school? To get jumping on this revolutionary
included in the syllabus to a good university. Why go vehicle for advancement,
for an EBacc, because we to university? To get a good the world of formal education
learn throughout our lives, job with a good salary. has been suspicious,
not just while we are But we’ve known for at least grudging and reluctant to
in formal education. a generation that those do anything more than see it
good jobs with good salaries as a prop. As David Puttnam
Despite the inspiring represent a rapidly shrinking writes ‘If all you do with
achievements of individual part of the labour market. technology is use it to
institutions right across Which means we’re teaching support existing
Britain, the philosophy that young people to cling to methodologies and practice,
underpins our education a sinking wreck rather then why, and on what
and learning systems, our than learning how to swim possible basis, would you
‘basic assumptions’, are now – which would itself be expect new or significantly
so inadequate that they are a much more invigorating better results? ’
beginning to deliver multiple proposition for any school The interactive world
systemic failure – failing or university. Other countries encourages users to –
to acknowledge the radical around the world are well – interact, rather
changes in the labour throwing out preconceptions than passively consume.
market, failing to address about learning and authority It engages people. In his
the social changes in our to embrace what they piece Niel Maclean writes
communities, failing to perceive to be the brave of the internet’s power
CreativityMoneyLove
So What? (Continued)
to enable ‘learning by that it is not handed to me to build long term success. A MeBacc may be a the learning process Acquiring the skills and
producing’ – ‘If you by others, though they can Cisco tells its staff ‘Better more valuable measure needs to be owned by the confidence to create a job,
want young people to help me along the way…’. to ask forgiveness than of achievement than learner, not the institution not simply to look for a job
understand music, movies, That is how most of us use seek permission’. an EBacc in which they happen to someone else has already
mammals or the solar the internet, but it is also find themselves, or the created, is how our economy
system, get them to make how previous generations Making and doing takes Trying to accommodate a examination board that is most likely to face future
one.’ Meanwhile, the 200 used libraries; places to learning to a higher level broad measure of success assesses them. As we challenges and still prosper.
million regular gamers explore and experiment, Christopher Fraying quotes – in creativity, money and wrestle with new ideas of As Geoffrey Crossick writes,
around the world are with an occasional helping J-J Rousseau: ‘If, instead love – within an Ofsted value such as ‘well-being’ we are ‘educating graduates
participating in the biggest hand. The model of the of making a child stick to sanctioned league table is and ‘happiness’ we ought for jobs that haven’t yet
self-regulating examination educational institution that his books, I take him to a problematic. For most of us, not to forget that in terms been invented’. The skills
system the world has ever has endured throughout workshop, his hands work the things we really value of confidence, ability they need are the skills
seen as they battle against history is that of the to the advantage of his from our own formal and potential, our own to invent jobs, rather than
themselves, and others, community. Communities intellect, he becomes a education or training assessment of ourselves succeed at job interviews.
to drive up their skills and support their members, philosopher, while he thinks experiences are almost may be the most significant
scores and move up to giving them confidence he is simply becoming an always those elements and certainly the most According to research by
the next level. The writer and a sense of common artisan.’ We have divorced that defy standardised enduring test of what NESTA, and by Creative &
John Lanchester recently purpose, an idea given learning from doing even measurement. At the same we’ve learned. Cultural Skills, the creative
observed that video games expression by Justin though every one of us time, natural competitive industries are expected to
are the only contemporary Spooner and Simon knows from our own instinct drives us to rank Making jobs will grow the grow more rapidly than the
art form in which the Hopkins when they ask, childhood experience that ability, whether it’s economy more effectively rest of the economy. There
consumers routinely ‘how can we create an doing trumps all other forms academic, sporting or any than taking jobs is no slackening in the pace
complain to the creators environment in which it of learning. The fact that other on some objective of technological change.
that they’re not making is socially acceptable to Rousseau was describing scale, and such rankings will The expectations that Culture continues to be of
the experience improve each other’s ideas?’ a world utterly different to always be part of assessing underpin the whole of our increasing importance in
sufficiently challenging. That is the very antithesis ours, in which the workshop a learner’s achievement and education system are of our sense of self-identity,
of a market approach to and the artisan were at the potential. But they only give waged employment at the our relationships with other
Learners are not education in which learners core of economic and part of the picture. Several end of it. Industries collapse, people, and the way we
‘consumers’ but co-owners (or their parents) shop community life, only serves of our contributors address whole sectors of the make our living. Against
around in the hope they are to emphasise how important this issue, asking how to economy disappear, the this backdrop of both
Almost every essay in this buying success, even if it it is that we do not lose the steer between the extremes factory worker is replaced incremental and disruptive
book talks of sharing, is at the expense of their connection between making of crude objective measures by a robot, the bank clerk change the perennial truths
exchanging, adapting and neighbours. To ‘buy’ success and learning. Whether what that give us a very partial by an ATM machine, but of human existence –
exploring as key concepts is to slam the door on the is being made is a painting, picture and fuzzily subjective we continue to believe that our search for creative
in effective learning – all of possibility that failure is as a cake, a film, a business or, measures that do the same a combination of Tescos, expression, money and
them experiences that give good a teacher, yet we are indeed, a community – from the opposite end of the hairdressing salons and love – remain.
learners some sense of moving into a time when we learn best when we get spectrum. Joe Hallgarten’s foreign-owned investment
ownership of the journey many of the world’s most our hands dirty, literally or proposal of a ‘MeBacc’ banks will somehow
on which they are embarked. successful companies metaphorically, not when which ‘asks students to guarantee our children jobs
Rose Luckin writes ‘I know encourage their employees we get an A-C grade in explain to themselves and for the future. This is not
that I have to construct to experiment, with the a multiple choice others why they’re studying a rational assumption.
knowledge from the attendant risk of failure, question exam. what they’re studying’ is a
evidence available to me, as the most effective way reminder that to be effective
CreativityMoneyLove
So what can you do?

Can you learn Creativity?
Trade skills for Money?
And Love what you do?
What does the education and

We asked our contributors learning system need to look
the question: like for people to lead fulfilled
creative lives and in order for
the creative and cultural
industries to thrive?
The answer is important to all of us. As a nation, and as individuals, we need

to be able to make the most of the economic and social opportunities that
creativity and culture offer. We need an education and training system that is fit
for purpose at a time where creativity is needed more than ever. This collection
is a contribution to moving the debate forward. Please keep the momentum alive.
Pass It On: Follow The Debate: Lead Your Own:

If you like the book – You can follow further You can lead your own
give it to a friend or developments, short discussions and develop
colleague. You can films, contributions and your own ideas by
download more comments at: accessing any of the
copies at: contributions as stimulus
to your own debate from:
#creativitymoneylove
Creativity, money and love are
all essentials for a fulfilling life.
Learning how to engage with
them, value them and keep
them in a sustainable balance
must be at the heart of what
each generation passes on
to the next. But in our formal
education and training
systems we have allowed
them to become almost
completely divorced. Unless
we re-balance the values and
assumptions that underpin
formal learning in our society
we will be failing to prepare
young people for the
economic, social and personal
challenges of a digital world in
which creativity holds the key
to fulfilment and well-being.
But where to start? Here are
more than sixty highly personal
but well-informed views on
how education and training
need to change so that a
creative society and a creative
economy can flourish.
Design – Project / Illustration – Paul Davis

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01 CreativityMoneyLove

ISBN: 978-0-9564298-7-2/First published in November 2011

CreativityMoneyLove is our shorthand expression CreativityMoneyLove has an important question at its

06 / CreativityMoneyLove 44 / Richard Green 82 / Greg Klerkx

What are you? Why are you here?

What are you? Why are you here?

Who are you? Education?

Tomorrow’s world today

Seeing the wood for the trees:

It is self-evident that for the creative industries: standing shortfalls in

The digital economy can thrive with

The first P is for as an essential discipline. So often foreign companies

For too long the creative

I Give You Everything

The green goat

Can creativity be taught?

Courses for horses – the creative mix Logic versus creativity?

The twelve Cs for learning in the 21st

Moral compass for the Commons

The value of taking notice

I grew up in Portsmouth, Formal education values years we’ll need adaptable,

Making and measuring difference

Stories within the songs

The human operating system

A new renaissance in learning

However, the current review of the National

With the significant skills shortages that exist in the

From an EBacc to a MeBacc:

Why an arts degree really is worth less

Good enough jobs and

The gift of ignorance

Economic creativity Getting our playful natures right

Reading, Wroughting, Arithmetic

The library as cultural enabler

Information plenty and knowledge famine?

A cow that is also a cucumber…

Anyone who has taught None of this is specifically

Singing songs of expectation

process is, I believe, neither develops meaningful An individual’s genetic

Traumatised children endure predominantly responsible when walking through

The BRIT School – 20 years on

Arts organisations as sites of learning

Arts organisations or diverse knowledge for creativity but, more

The sheep conundrum

Every school should be a creative school

Having worked with With that structure in

Why fairy tales? LOVE – a curriculum on human rights

It’s not just about the money

Another way in:

They now find themselves As a first reaction, opinion To them I address my

Piloting chaos with integrity and inspiration

Invest in your creativity – get a job!

Forging a new culture of

Making a solar system

Schmidt, Leonardo and video games

A little more learning by doing

As well as being craft During the summer months,

Don’t set yourself to formula

Imagine being constantly overcomes everything’ need people who are

Not from the sidelines

Freedom, fire and facts

One size fits all, fits nobody

So what can you do?

06 / CreativityMoneyLove 44 / Richard Green 82 / Greg Klerkx