Start 2014-15 final evaluation report by Children and the Arts

START PROGRAMME EVALUATION 2014/2015

Marge Ainsley Independent evaluator www.margeainsley.co.uk

Contents 1

Executive summary ..................................................................................................................... 3 1.1

Key findings ......................................................................................................................... 3

Introduction .............................................................................................................................. 11 2.1

Method statement ............................................................................................................ 11

2.1.1 3

Research limitations .................................................................................................. 12

Findings ..................................................................................................................................... 12 3.1

At a glance: key facts comparison year on year................................................................ 13

3.1.1 3.2

The Jack Petchey Foundation Start Programme: partners 2014/15......................... 14

Introduce ........................................................................................................................... 14

3.2.1

Visiting cultural venues ............................................................................................. 14

3.2.2

Product in focus ........................................................................................................ 18

3.2.3

Independent introductions ....................................................................................... 22

3.2.4

Partnership â&#x20AC;&#x201C; common challenges............................................................................ 23

3.2.5

Partnership - benefits ............................................................................................... 25

3.2.6

Introduce: recommendations ................................................................................... 27

3.3

Inspire ............................................................................................................................... 28

3.3.1

Being inspired through increased confidence .......................................................... 28

3.3.2

Inspiring future careers â&#x20AC;&#x201C; the importance of including artist practitioners ............. 28

3.3.3

Inspiring changes in behaviour or effort ................................................................... 30

3.3.4

Inspiring an enjoyment or appreciation of art .......................................................... 30

3.3.5

Inspire: recommendations ........................................................................................ 31

3.4

Enhance ............................................................................................................................. 32

3.4.1

Critical analysis .......................................................................................................... 32

3.4.2

Teacher CPD .............................................................................................................. 34

3.4.3

Helping to deliver the national curriculum ............................................................... 35

3.4.4

Challenges ................................................................................................................. 36

3.4.5

Enhance: recommendations ..................................................................................... 38

3.5

Create ................................................................................................................................ 38

3.5.1

A chance to create .................................................................................................... 38

3.5.2

Pride in creating and performing .............................................................................. 39

3.5.3

Unexpected outcomes .............................................................................................. 41

3.5.4

Create: recommendations ........................................................................................ 41 1

3.6

Operational effectiveness ................................................................................................. 42

3.6.1

Structure and support ............................................................................................... 42

3.6.2

Start Partnerâ&#x20AC;&#x2122;s Day .................................................................................................... 43

3.6.3

Improvements ........................................................................................................... 44

3.6.4

Recommendations .................................................................................................... 46

3.7

Legacy................................................................................................................................ 46

3.7.1

Legacy key facts table ............................................................................................... 47

3.7.2

Continuation of partnerships .................................................................................... 47

3.7.3

Embedding learning .................................................................................................. 48

3.7.4

Post-programme challenges and support................................................................. 50

3.7.5

Advice for current Start partners .............................................................................. 53

3.7.6

Legacy 2014/15 ......................................................................................................... 54

3.7.7

Recommendations .................................................................................................... 56

Concluding remarks .................................................................................................................. 57

Appendices ................................................................................................................................ 58 5.1

Appendix 1: The Jack Petchey Foundation Start Programme criteria .............................. 58

5.2

Participating school statistics .............................................................................................. 0

Executive summary

The Start programme was designed and set up by Children & the Arts in 2006 with the ultimate aim of enabling school children to experience the arts by introducing them to their local cultural venue. Start partners are contracted annually up to a maximum of three years and during that time receive support from the Children & the Arts team, including the opportunity to network and ideas share with other organisations at an annual Start Partners Day. During 2014/15, Children & the Arts provided funding and support to 16 Start partners across England, Scotland and Wales with grants totalling ÂŁ154,475. The organisations spanned art form areas and were at various stages of their participation in the programme (either in year one, year two or their third and final year). Two of the organisations (Saatchi Gallery and Iniva) took part in Start through funding especially provided by The Jack Petchey Foundation Start Programme. Whilst the below findings evaluate Start holistically, there were a number of key criteria which the Foundation expected these two organisations to meet as a condition of their grants.1 This particular evaluation report responds to the required evaluation aims as outlined by Children & the Arts in their 2014/15 brief. The following executive summary outlines the main findings from the evaluation report across the four key themes of the Start programme (introduce, inspire, enhance and create) as well as partner views on operational effectiveness and legacy.

1.1

Key findings

Introduce During 2014/15, a total of 6796 children from across primary and secondary schools visited 16 cultural institutions, including visual arts, performing arts, mixed arts, and heritage. The majority of Start partners successfully worked with a minimum of 300 pupils each, as per their required target. All Start partners successfully achieved the specified criteria of arranging two visits to their venue for each pupil. Every Start pupil received an average of six experiences (comprising their visit and supporting workshop activity) which suggests the high level of commitment that partners had in deepening engagement with their artform. All participating organisations worked with schools in areas where pupils are unlikely to have had any previous or regular engagement with the arts2. Start has therefore provided an opportunity for many young people to experience culture which they indicatively would not have accessed.

These are outlined in Appendix 1 and are referred to throughout the report where relevant. A table outlining the participating school statistics from across the programme is included in appendix 5.2. However, it should also be noted that a key criteria of Start is that schools should not have had a relationship with the arts venue prior to joining the programme and/or limited arts provision. 2

93% teachers agreed that their pupils felt comfortable in their arts partner venue by the end of the programme in 2014/15. Second and third year partners in particular described how returning pupils have developed a strong â&#x20AC;&#x2DC;sense of belongingâ&#x20AC;&#x2122;. Pupils have grown in confidence as a result of the programme, both in terms of visiting cultural venues and critical analysis. They have developed individual opinions about what they experienced, and have related this to the world around them. Teachers grew more confident in accessing cultural venues as well as their pupils. Those who were initially sceptical about the programme became increasingly more engaged as they recognised the difference it could make to their pupils â&#x20AC;&#x201C; not simply in arts subjects, but across the curriculum. The evaluator is confident that the activities provided this year were of a high quality. This is based on combined evidence of programme content, satisfaction ratings, overall feedback and observation. There was a huge breadth and diversity of product, both in terms of visits and accompanying workshops. There was a noticeable increase in the number of digital outputs in 2014/15, with many partners or schools choosing to document or record their experiences via online blogs and videos. A digital bank of Start projects could be created e.g. Children & the Arts YouTube channel - either for public or private partner network access. This would help share digital content and success stories more widely. Anecdotally, teachers have attended partner venues in their own time, and children have returned with their families or independently engaged with organisations (such as by volunteering) as a direct result of their involvement in Start. Nearly half of surveyed teachers agreed that their pupils developed an interest in participating in the arts outside of school as a direct result of Start. In the future, arts partners could be encouraged to more proactively track independent visits or participation from pupils, families and teachers which would more robustly evidence return engagement. Arts partners across all cohorts are increasingly experiencing a drop out of schools. This is attributed to changes in staff and/or renewed pressures on teachers. Partners have pro-actively responded to this wherever possible, being flexible with when and how they have delivered Start sessions. This has worked particularly well in cases where schools have developed a deep sense of trust with their arts partner. This is recognised as key to engagement. Partners reported that Start is currently not working effectively for secondary schools, and suggested that the model may need to be reviewed and potentially revised. This was attributed to the changes in the secondary curriculum and the various models that secondary schools are now using within their performance management, such as the E-Baccalaureate. Children & the Arts may therefore wish to revisit the Start model for secondary schools in particular, especially regarding the suggested structure and target numbers. 4

Partners reported how teachers recognise the value of the arts and, as a result, are booking for other programmes/products independently from Start. There is evidence to suggest that some Start teachers are getting involved in wider educational networks and this is leading to potential partnership opportunities beyond the life of the project. Teachers are describing the benefits of the Start programme to colleagues elsewhere – it has indicatively developed a positive reputation within school networks as a result. Teachers are sharing their skills, learning and ideas throughout the school. Start is therefore indicatively having an indirect impact on pupils who have not directly participated. Third year partners suggest that Start has indirectly helped develop advocacy with funders and opened up new communication channels with other delivery organisations and freelance practitioners. There is a potential opportunity to find and share more stories around these indirect partnerships and the reported benefits, such as contributing to placemaking. Place-making (often also called ‘place-shaping’) is widely understood to describe the ways in which local players collectively use their influence, powers, creativity and abilities to create attractive, prosperous and safe communities, places where people want to live, work and do business.3 Inspire 97% teachers agreed that Start helped pupils to become increasingly confident and creative in their own right and 82% believed that it had helped increase self-esteem (a decrease of just 1% from 2013/14). 86% of teachers believed that taking part in Start has had a positive impact on their pupils’ overall personal development (an increase of 6% from 2013/14). 86% of teachers stated that Start has helped students gain team working skills (-3% from 2013/14). 82% of teachers believed that Start has helped their students gain social skills (-5% from 2013/14). It is worth monitoring these percentages in 2015/16, to assess if there is a declining trend forming, or whether these were isolated cases this year. Working with real artists and practitioners brought the arts to life and subsequently inspired students (and indeed teachers) to ‘give it a go’ themselves. Having access to an artist as well as a cultural institution was particularly seen as a unique aspect of the programme for schools and was highly valued. Children & the Arts could consider making the inclusion of artist practitioners compulsory within the programme’s future structure, as indicatively these have a huge impact on participants and teachers.

This particular definition is taken from Future Communities, however others are available.

Anecdotally, teachers and partners reported positive changes in the behaviour of students participating in Start. For example, those who were typically disengaged, lacked confidence or struggled academically made an improvement either with their classwork or in their behaviour as a direct result of the Start programme. Some school partners believe the programme is potentially having a direct impact on subject choices made by pupils at Key Stage 3. Further evidence could be sought in future evaluation from teachers to correlate participation in Start with chosen options. 93% of teachers stated that Start helped their students with developing listening and speaking skills. 76% teachers agreed that Start has had a positive impact on how pupils engage with school and school work. 100% of teachers agreed that Start has helped pupils to develop an appreciation of an art form. Enhance During 2014/15 all of the participating organisations included some form of critical analysis within their projects – ranging from Q&A sessions with the cast through to interviewing international artists. The variety and chosen content of workshops enhanced the experience of students, from increasing confidence and motivation to developing creative ideas and fuelling imaginations. The most successful school partnerships were built by Start partners who provided teacher CPD. These gave organisations a really valuable opportunity to foster deep, personal relationships with their teaching partners and to develop a sense of trust. The evidence suggests that using art professionals within a classroom environment helps teachers to learn skills and techniques which they can use independently in their lessons. Partners should therefore be encouraged to use artist facilitators within outreach workshops wherever possible. Whilst three quarters of teachers completing the survey positively rated their CPD/training as either excellent or good, only 10% (3 teachers) rated it as excellent. This is an area where Children & the Arts can potentially support partners to increase levels of satisfaction. Teachers valued being able to shape the content of their pupils’ sessions during CPD training and enjoyed being able to access quality resources. It helped them gain confidence and provided creative solutions for how to use the arts across the curriculum. Creating shareable case studies to demonstrate the importance of CPD could encourage more arts partners to develop training programmes and schools to participate in them. Pooling together relevant teacher resources developed through the programme (e.g. in an online hub) could showcase how to use the arts across the curriculum. Teachers have gained new ideas and skills – whether philosophical enquiry and critical thinking or practical artistic techniques – and these are proactively being shared with colleagues. 83% of teachers said they would use their experience of Start to inform classroom work. 6

96% of teachers stated they would use their experience to inform Art (+17% from 2013/14), 57% in English (-3% from 2014/15), 36% in DT (-13% from 2012/13) and 32% in PHSE (-17% from 2013/14). However, they expressed that they would use their experience the least in Science (0%), Welsh (0%), RE (1 teacher), PE (1 teacher), MFL (2 teachers) and Maths (3 teachers). This is comparative with 2013/14 evaluation. Only 39% of teachers believe that Start helped students to gain reading or writing skills. However, this is an increase of 4% when compared to last year. Overall, 69% teachers agreed that Start has had a positive impact on pupils’ overall academic achievement. Create All Start partners during 2014/15 included some form of opportunity for pupils to produce a creative response, across all art forms. As well as developing an enjoyment of an artform, it gave children an opportunity to put their critical analysis experience into action and to become more confident in taking independent decisions when creating their own artwork or devising performance pieces. 100% of teachers state that Start helped their students to develop creative thinking skills. Many arts partners now in their second and third years (working with the same children each year) have reported noticeable pupil progression. The opportunity to create a piece of art – whether written, performance or visual - was recognised as a key benefit to the Start programme by teachers. It was greatly valued that children could try new and different art forms that they may not have access to in class. Having the ability to share their work with others gave children a sense of pride. This was notably important for SEN children, or those with English as a second language as it gave them a voice. There were a number of unexpected outcomes with ‘create’. For example, one arts partner worked with a publisher to deliver workshops in schools following a series of creative writing sessions. Operational effectiveness Having a programme whereby a funder commits to a three-year programme is viewed by partners and teachers as a unique and pioneering model. The flexibility and support from Children & the Arts is most commonly referenced by partners as something which creates an enjoyable and positive experience. Arts partners described Children & the Arts as a ‘different’ kind of funder – one which is more of an equal partnership than that of a hierarchy. The approachability of the staff team is highlighted as a key reason why partners perceive the organisation to be different to other funders. The ongoing evaluation process was praised, and described as a positive and constructive opportunity for partners to reflect on, and address any concerns together with Children & the Arts at regular intervals.

The Start Partner’s Day continues to be popular for providing networking opportunities and developing ideas. It is perceived as less useful for those in, or going into their third year. It may be worthwhile to consider specialist content ‘break outs’ for these partners, for example a greater discussion around legacy and sustainable resources or inviting alumni into talk about their progress post-Start. Partners requested more ways to share ideas nationally, and network regionally – and suggested that the main Partner’s Day could be held outside of London. Children & the Arts may wish to consider setting up online fora or regional networks to facilitate ongoing conversations outside the annual opportunity, and to rotate the Partner’s Day venue. One arts partner is not continuing into their third year of the programme, primarily due to a lack of awareness in the reduction of funding in year three. Despite this reduction being included in partner contracts and raised at the Start Partner’s Day each year, Children & the Arts may wish to reinforce this change in resource throughout the term of contracts. Although satisfaction levels were generally high with teachers, time was a criticism of the programme by some. Both in terms of the time that children were given (too much or too little) and the actual timing of when the activity happened (too close to the end of term). Legacy An incentivised online survey was sent out to previous Start partners4 and of those, eight participated. Five of the respondents had completed Start in 2011, two in 2012, and one in 2009. They ranged in art form including mixed arts, literature and storytelling, theatre, dance, and visual arts. All organisations agreed that they would recommend the Start programme to other organisations. Some previous partners and schools have seen long-term outcomes as a result of the programme, such as continual engagement and independent buy-in of artists. All eight respondents agreed that they continue to use elements of learning from Start in their educational work today. Half of previous partners stated that Start has had the most impact on developing sustainable relationships with schools. Partners have embedded their learning from Start in a variety of ways, for example growing a bespoke teachers CPD programme. Being involved in Start gave these organisations a solid foundation on which to build their education strategy, as well as confidence in delivery. Partners reported how Start has enabled them to develop a stronger programme for schools, to build better relationships with artists (including those working internationally), and to lobby for further funding.

See methodology in 2.1.1 for limitations.

All organisations agreed that they developed new ways of working with schools as a result of Start (with 62.5% strongly agreeing). 75% agreed that the Start Partnerâ&#x20AC;&#x2122;s Day is important for learning and sharing ideas with other partners. All previous partners reported that they are still working with the majority of their Start school partners. 62.5% (5) organisations have continued to work with their partners in school, 37.5% stated that they continue to visit for workshops (3 organisations), and 37.5% continue to offer CPD opportunities (3 organisations). 5 organisations agreed that they made useful contacts by being part of the Start network, although only 1 organisation strongly agreed. 3 organisations neither agreed nor disagreed. 5 organisations agreed that taking part in Start has impacted on the way they now communicate with schools. 3 organisations neither agreed nor disagreed. All organisations disagreed with the statement â&#x20AC;&#x2DC;nothing changed at our organisation as a result of taking part in the Start programme.â&#x20AC;&#x2122; The majority (7 of 8 organisations) said that finding funding was the main challenge once they left the programme. Three organisations suggested that communication with schools/teachers had also been a challenge. Partners have either sourced additional funding streams from elsewhere to enable activity to continue (working closely with their in-house fundraising team), or have received support from their schools and partner delivery organisations. Partners reported that they are experiencing returns to their venue from lapsed schools due to the changes in the secondary curriculum for English Literature. Children & the Arts may wish to investigate this further, especially given the context of existing partner feedback with regards to challenges with secondary schools. The majority of previous partners would like ongoing PR and evaluation support from Children & the Arts to advocate the long-term impacts of the programme to funders. Previous partners offered advice for current partners. These fell into eleven common areas and included being organised, getting the right teachers on board and being savvy with travel and associated costs. The resulting list could be shared with new and existing partners to help them grow their own projects. Positively, all 2014/15 partners were confident in, and committed to, continuing to work with their school partners in some way beyond the life of Start; however it was recognised that sustained participation will depend on the time and financial pressures of schools. Continuation with partnerships appears more likely with those arts partners who have developed particularly strong and successful relationships by truly embedding themselves within the school and school life, offering regular training and CPD opportunities and making themselves indispensable. 9

Start programme objectives checklist table

Objective

Status

To work with engaged and committed partners to deliver arts projects To support projects that are of high quality

Achieved

For participants to gain rich engagement with the arts through at least 2 visits to a cultural venue and a range of supporting activities

Achieved

To work with children who are unlikely to have visited cultural venues in the past For the children to feel comfortable in cultural venues and to develop appreciation/enjoyment of an art form and to become confident and creative

Achieved

Introduction

The Start programme was designed and set up by Children & the Arts in 2006 with the ultimate aim of enabling school children to experience the arts by introducing them to their local cultural venue. Start partners are contracted annually up to a maximum of three years and during that time receive support from the Children and Arts team, including the opportunity to network and ideas share with other organisations at an annual Start Partners Day. During 2014/15, Children & the Arts provided funding and support to 16 Start partners across England, Scotland and Wales with grants totalling £154,475. The organisations spanned art form areas and were at various stages of their participation in the programme (either in year one, year two or their third and final year). Two of these organisations (Saatchi Gallery and Iniva) took part as a result of funding specifically provided by the The Jack Petchey Foundation Start Programme. Whilst the below findings evaluate Start holistically, there were a number of key criteria which Children & the Arts expected these two organisations to meet as a condition of their grant.5 This report specifically responds to the required evaluation aims outlined by Children & the Arts in the 2014/15 brief which are to: -

2.1

Provide key data about the 2014/15 programme such as number of arts organisations and pupils involved Assess whether the Start programme is meeting its aims of introduce, inspire, enhance and create alongside five additional objectives which are a) To work with engaged and committed partners to deliver a range of arts projects b) To support projects that are of high quality c) For participants to gain rich engagement with the arts through at least 2 visits to a cultural venue and a range of supporting activities d) To work with children who are unlikely to have visited cultural venues in the past e) For the children to feel comfortable in cultural venues and to develop appreciation/enjoyment of an art form and to become confident and creative Address the effectiveness of the programme from an operational point of view Provide a flavour of the activities that have taken place across the programme Include the views of individual arts organisations and teachers Investigate the legacy of the Start programme for current and previous Start partners Pull out any recommended areas for development or refinement in future years.

Method statement

The evidence which underpins this report was collated from the below sources6:  Teacher feedback from 29 online surveys completed by teachers post-project 2014/15  Findings from 59 teacher surveys post-project 2013/14, the results of which were included in last year’s evaluation report  Observation of 4 Start sessions at a mix of school and partner venues, spanning art form and geography 5 6

These are outlined in Appendix 1 and are referred to within the report where relevant. Data from all surveys is unweighted.

 

   

2.1.1 



16 partner evaluation reports completed by Start partners post-project 9 in-depth telephone interviews designed and conducted by the independent evaluator with a representative (art form/location/year of project) of Start partner organisations, randomly sampled 3 in-depth telephone interviews with teachers, plus two responses to interview questions provided by written means Findings from 8 respondents completing an incentivised and bespoke legacy survey for 2014/15, sent to all previous Start partners since the programme began Quantitative data provided by Start partners including the number of schools, pupils and experiences Qualitative and visual data provided by Start partners including quotations collected, videos and photographs. Research limitations During 2014/15 an online teachers survey was utilised as a pilot to save on time and resources for input and analysis. The response to this online survey was much lower than in previous years where a paper survey was sent with an SAE. However in future years Children & the Arts may wish to use a combination of both paper-based and online versions to ensure a higher completion rate, or to incentivise survey returns as per the legacy survey Whilst providing detailed individual responses, the overall response to the online Start partner legacy survey was low, so caution must be drawn with the robustness of the sample. It should be noted that contacting all of the original Start partners (particularly from the earlier stages of the programme) proved difficult for Children & the Arts, as staff members had moved on or contact details had changed, so this is likely to have affected the sample frame and responses. It must also be noted that the sample may also have been biased towards partners who were able to express more of a positive viewpoint about their postStart experience Caution must be drawn when considering the findings from all surveys, as the actual numbers behind the percentages will be low.

Findings

This chapter is divided into seven sections. 



The first section presents a key facts statistics table which outlines some of the main quantitative data outputs from partner and school organisations during 2014/15 compared with those in 2013/14 The next four sections consider whether the core Start objectives have been achieved this year. The findings are presented under each of the four major Start themes of Introduce, Inspire, Enhance and Create. Further programme data and an indication of the types of activities from 2014/15 is also included The sixth section provides an analysis of the common arising themes from partners regarding the overall operational effectiveness of the Start programme



Finally, the views on legacy from current and previous Start partners are discussed in section seven.

A series of recommendations are made as a result of the key findings and these are included after each section.

3.1

At a glance: key facts comparison year on year 2013/14

2014/15

Total cost of grants

£209,455

£154,475

Total number of organisations funded

16 (including two funded by The Jack Petchey Foundation Start Programme)

Total number of children

9412

6796

Total number of primary children

5229

2936

Total number of secondary children

3798

3730

Total number of SEN children

385

Total number of PRU children

Average cost per head

£24.85

£26.00

Number visual arts

Number of theatres

Number of heritage

Number mixed arts

Average cost per experience per child

£6.21

£4.11

Average number of experiences per child

3.1.1

The Jack Petchey Foundation Start Programme: partners 2014/157 Saatchi Gallery

INIVA

Grant 2014-15

£11,000

£6,900

Total number of participating secondary pupils

226

230

Total number of secondary schools in Enfield and Havering boroughs

Cost per head

£48.67

£30.00

Cost per experience per pupil

£6.08

£6.00

Number of experiences per pupil

3.2

Introduce

Objective: “Pupils and teachers are introduced to a local arts venue and the art form the venues houses/presents on at least two separate visits to the venue.” 3.2.1 Visiting cultural venues During 2014/15, a total of 6796 children from across primary and secondary schools visited 16 cultural institutions, including visual arts, performing arts, mixed arts, and heritage. This represents a decrease from 2013/14 which can be attributed to the reduction in the number of participating organisations, although there have been concerns from partners this year about a decline in willing engagement from schools - especially with theatre-based venues and those working with secondary schools (although this year we have seen partners work proportionally with more secondary children than primary children in comparison to 2013/14).

The Jack Petchey Foundation Start Programme criteria is briefly outlined in appendix 5.1. The evaluator notes that whilst the programme did not meet its target of engaging with 800 pupils, it should be recognised that this year was a pilot and therefore a learning journey for all partners. Challenges such as unexpected pupil absence, timetabling constraints, and smaller class sizes are being addressed in the extended pilot, to increase school commitment and build on relationships with teachers.

However, it is a positive outcome that the majority8 of Start partners successfully worked with a minimum of 300 pupils each as per their required target. Indeed, each Start pupil received an average of six experiences (comprising their visit and supporting workshop activity) which also indicates the commitment that partners had for deepening the levels of engagement with pupils. The number of experiences in 2014/15 have been successfully maintained at 2013/14 levels.

Image: Jerwood Gallery

The Start programme also asks partners to ensure at least two visits are arranged to their institution, so that all participants gain a truly rich depth of engagement with the arts. All Start partners successfully achieved this in 2014/15, including those organisations who had not met this criteria last year. This suggests that the pre-emptive measures put in place by organisations in 2013/14, such as arranging dates earlier and improving communication channels, have worked well. Start organisations are required to target schools that:    

are state schools or public educational institutions do not have an existing relationship with a cultural venue demonstrate indicators of need are underperforming.

Iniva’s grant was initially given for working with 400 students, however due to unforeseen circumstances some schools were unable to

allow a large number of participants to engage with the programme. This reduced the number of pupils to 230 overall and the grant funding was adjusted accordingly in agreement with Children and the Arts/ The Jack Petchey Foundation Start Programme. Iniva will not be continuing their involvement in the programme following their pilot year. This is due to changes in the direction of the overall organisation. Festival City Theatres Trust engaged with 290, however their project clearly met some positive outcomes for those involved. Saatchi Gallery experienced reduced class numbers than those originally planned, finishing the project with a total of 226 pupils. Impressions Gallery in Bradford worked with 221 pupils, with one school dropping out (reduced terms were agreed with the Children and the Arts team). Manchester Museum achieved 235, due to challenges with schools rescheduling sessions due to timetabling constraints.

All participating organisations in 2014/15 achieved this and it is clear that engaging with such schools has provided an opportunity for many young people to experience culture which they would not ordinarily have been able to access. Many teachers described the positive benefits of having access to cultural venues for both children and teachers – from offering children a learning opportunity outside the classroom, through to being able to use space at an arts partner venue for a non-Start related reason, such as teacher meetings.

“It has been extremely enriching for our children as they would rarely ever visit a gallery.” (Teacher on second year of programme) “The Head of Drama has stated that without this programme those young people would have had no arts based experiences and that the opportunity has made a significant enhancement of their understanding of what the arts can offer.” (Arts partner on third year of programme)

It has also enabled new and stronger relationships to be built between arts partners and schools which are likely to continue outside, and/or beyond the scope of Start. The positive contribution that the programme has had on partnership development is discussed further below. One of the key aims of Start is to ensure that young people feel comfortable in the cultural venues they visit. Last year there was evidence to suggest that where organisations successfully achieved multiple visits, pupils’ confidence and ownership of the space deepened – even for those students visiting organisations on the first year of their Start project. The same is true for 2014/15, with 93% teachers agreeing that their pupils felt comfortable in the partner venue by the end of the programme.

Image: Festival City Theatres Trust

This year, more specific examples were provided from second and third year partners who described how returning pupils are increasingly more confident and comfortable in their surroundings; that they have a ‘sense of belonging’. For example, children have remembered content from their previous visits or are asking their teachers about when they can return again. In some cases it is indicative that arts and culture is becoming an embedded ‘normal’ part of their school life – and for some, their

home life9. Furthermore, they have grown confident in expressing their own opinion about what they experienced at their partner venue, and have related this to the world around them.10

“Their confidence has increased hugely around elements of theatre - their frame of reference is growing and growing so that more than anything else they are starting to make links between theatre and the world around them; ideas about justice, history, choices, politics and identity.” (Teacher from third year of programme) “The children are starting to feel really familiar and ‘at home’ in BALTIC now and keep asking when they will be going back as there must be a new exhibition soon! They talk about what they might see or what they will do and constantly reference what they’ve done in the past.” (Teacher on third year of programme) “The first time we came to the Unicorn it was weird because we didn’t know what to expect, but now because we come all the time its different, it’s still like exciting to come now, because you’ve never seen the play, but you just feel familiar with the place. You look forward to it because you haven’t seen anything else like it. We don’t go to other theatres with school.” (Pupil on third year of programme)

In addition, this year there is evidence to suggest that teachers also grew more confident in accessing cultural venues as well as their pupils, with partners reporting how some who were initially sceptical about the programme became increasingly more engaged as they saw the difference it could make to their pupils – not only in their arts subjects but across the curriculum. Teachers also became more comfortable with using elements from the Start programme which they then applied to their own classroom activity.11

“Teachers spoke of their original concerns - about feeling they did not know enough, or were not knowledgeable enough about art, now they find themselves confident about the value of the work that they can do at a gallery and of how they can use art to make a difference to their students and their learning.” (Arts partner on third year of programme)

See more about the impact on independent visits in 3.2.3. Critical analysis outcomes are discussed in more detail in 3.2.1. 11 Applying learning across the curriculum is discussed in more detail in 3.4.3. 10

3.2.2 Product in focus The Start programme aims to support projects that are of high quality. Alongside the evaluator’s observation of four Start programme sessions (two in-school, two in-venue), it is indicative from the following indicators that the programme was of a high standard across the board:     

the range of relevant and enriching opportunities provided the level of arts professionals that they engaged with (such as working with practising artists, directors and professional actors) the national and internationally renonwned artists, exhibitions and productions they were exposed to (for example, the highly rated Artist Rooms programme). the high levels of satisfaction reported (96.22% teachers either rated the Start programme as excellent or good) the independent feedback from both teachers and pupils

“The feedback from the teachers and students about all three of the performances was that they were excited by the high quality including the variety of issues each performance presented.” (Arts partner on second year of programme)

The table below gives an overview of experiences that participating children received this year. Whilst not exhaustive, this table highlights the breadth, diversity and quality of product offer that Start partners achieved during 2014/1512. Comparatively, it includes a similar variety as in 2013/14, however there was a noticeable increase in the number of digital outputs this year, with many partners or schools choosing to document or record their experiences via online blogs and videos or projects which used digital / social media as a creative tool: Experiences snapshot table

Partner

Pupil experience snapshot13

Saatchi Gallery (The Jack Petchey Foundation Start Programme)

Introductory evening for teachers and pupils to meet staff and artists. Artist talks (including exhibiting artist Ibrahim Mahama) gallery artistled workshops (linked with Pangaea II and including visits and creating activities such as drawing, videos, vines, photography, paintings and sculptures), in-school artist-led workshops (producing moving image) and a takeover day

More information regarding supporting activity (workshops) and their impact particularly on critical analysis and creating is included in section 3.4.1. 13 See individual partner reports for further descriptions of activity, this table should be treated as an outline snapshot only.

(including exhibiting the pupils’ moving image work and gallery tours led by pupils) Iniva (The Jack Petchey Foundation Start Programme)

Students visited Iniva exhibitions, met the artists and undertook research in the Stuart Hall library. They learned how to create GIFs with online software, and how to use stop motion techniques to create a short animation. In-school workshops were held with artists leading activity to create and make their own artworks.

Tricycle Theatre

Students visited Lionboy and the Dissidents at the theatre, and took part in a pre-show Q&A with the writer, or director (depending on the day of visit). Introductory workshops were held in schools followed by playwriting workshops with professional playwright Evan Placey. This formed part of a series of scriptwriting lessons that had been developed – and were continued by teachers in schools. Students wrote short scripts and submitted them to the theatre. A small selection were performed on stage as part of Tricycle Takeover

Unicorn Theatre

Pupils attended How Nigeria Became, Girls like That, The Caucasian Chalk Circle, and Britain’s Best Recruiting Sergeant. They received pre- or post-show workshops or in-school workshops led by a specialist drama practitioner. Post-show activities included the opportunity to talk directly with the cast and creative team of the productions.

Nottingham Contemporary

Pupils visited exhibitions by two young European artists, Raphael Hefti and Agnieszka Polska, and then made ‘accidental’ art works, huge collages and installations in response through workshops. An artist-led workshop was held in schools to prepare the pupils’ work for a celebration exhibition which took place in April.

mima

Pupils visited Artist Rooms: Louise Bourgeois, Wendy Ramshaw: Room of Dreams, David Lynch Naming, mima’s jewellery gallery, Stephen McKenna’s Perspectives of Europe 1980-2014, 19

and Georgina Starr, I Cave and participated in gallery workshops linked to these exhibitions. Manchester Museum

Pupils visited the museum to examine GraecoRoman Mummy Portraits and worked with their partner artist to explore the topic of identity. During the second visit students were able to work with a creative practitioner and their final artwork pieces. Creative practitioners also visited schools to run workshops between gallery visits.

Festival City Theatres Trust

Pupils were given an introductory talk about the theatre, show and artists by the learning and participation manager. They then attended Slava’s Snow Show and The Curious Incident of the Dog in the Night Time at the theatre. Pupils experienced a clowning workshop, publishing workshop and a creative story writing workshop. Pupils wrote their own ‘curious’ stories which were published as short stories by White Water publishing; these were launched at an event in June where the children’s stories were read by professional performers to their families.

Gallery Oldham

Pupils visited 200 Years of Union Street where pupils learnt about observational drawing; as a contrast, outreach visits to school centred on children drawing to music and using their imaginations to conjure up subjects for their own creativity. Pupils also visited the work of Claire Mather in the Community Gallery and examined the natural history collection on their second visit. Outreach visits at schools included making a ‘memory pouch’. The third visit focused on the natural history collection and pupils revisited the techniques they had previously used including watercolours. The outreach sessions at school included making a bird-themed bookmark for their reading book.

Jerwood Gallery

Students visited the gallery twice and worked with an artist educator to interpret the art in a 2.5 hour workshop session. The class then followed up activity back in school and produced

an artistic response. These were displayed at an end of year celebration event for families. Compton Verney

Pupils visited British Folk Art, and took part in a textile workshop focused on different approaches and techniques in the exhibition. This was followed by a workshop in school with textile artist Michala Gyetvai where students explored traditional crafts like felting. Pupils also visited Canaletto: Celebrating Britain, The NonConformists: Photographs by Martin Parr, The Hart Silversmiths, and The Arts and Crafts House: Then and Now, all of which had follow up workshops.

Greenwich and Lewisham Young People’s Theatre (GLYPT)

Pupils saw Robin Hood Legend and had a bespoke 1 hour workshop with the director, actors and designers. They also saw a touring Spanish Circus/Theatre production at the Tramshed, a non-language based dance and circus show. This also had a follow on discussion. Finally, students took part in a half-day residency workshop at the Tramshed; a 2 hour specialist arts-based workshop themed around an area of the curriculum they were studying.

Falkirk Community Trust

Pupils enjoyed a back stage tour of the town hall venue and creative industries, followed by workshops in either lighting and sound, playwriting, acting, set design and the role of the director/producer. Students were able to meet professionals and ask them questions about their work and career. Pupils also saw a performance of La Tragedie Comique and took part in a range of masterclass workshops customised for each school. Finally, pupils attended Warrior by Black Dingo Productions.

Impressions Gallery

Pupils visited the gallery with each class visiting twice. Three exhibitions were offered including Hunters by David Chancellor, Realism in Rawiya: Photographic Stories from the Middle East by Rawiya collective and Extra{ordinary} Photographs of Britain by ‘The Caravan Gallery’. A number of ‘enrichment activities’ were also held in schools, such as those themed on portraiture. 21

Derby Theatre

BALTIC

For example one school took part in photographic portraiture activities designed to embed practical photography skills whilst another took part in an experimental drawing activity. Work created in these sessions was included in the showcase film on Bradford Big Screen and was also exhibited in the Impressions Gallery Foyer during July and August. Students attended the theatre to see The Rise and Fall of Little Voice, A Christmas Carol, and Solace of the Road. Pupils took part in ‘playback sessions’ which are post-show discussions where young people get to change and rework scenes they are particularly interested in. Each school worked with a practitioner to create an original piece of performance which was then showcased at Derby Theatre School’s Festival. Pupils visited the gallery on three occasions and took part in linked workshops both inside the gallery and back at school. For example, in They used to call it the moon, groups explored the idea of viewing and drawing. Within Jason Rhoades in term three, children were tasked with looking for things that no-one else noticed to learn the difference between installations and scriptures. Each school also received artist-led workshops inschool and there was a celebration preview party and bubble day for families.

3.2.3 Independent introductions Within the scope of this evaluation it is difficult to robustly measure whether independent pupil or family engagement with arts partners has occurred beyond the Start programme. However, there is some anecdotal evidence to indicate that new introductions have been made – for teachers as well as pupils. For example, teachers have reportedly attended venues in their own personal time, and children have either returned with their families or gone further and volunteered with organisations as a direct result of their involvement in Start.

“Several teachers from the Start schools have mentioned that they have attended performances at the theatre that are not part of the Start programme; many of these teachers had never been to theatre before the Start programme, or for at least five years.” (Arts partner on second year of programme)

“When my parents heard I was doing the Start programme with the Saatchi Gallery they were really interested. It was through this that they learned about my interest in art. My Dad then took me to a gallery and supports my interest in art.” (Pupil on first year of programme) “In year 2, we have seen a measured increase of families from our schools attending our holiday activities for the first time.” (Arts partner on second year of programme) “The pupils independently contacted us to offer their services as volunteers to work backstage supporting the technical crew. These pupils have worked on 10 performances…” (Arts partner on first year of programme)

One third year partner who purposefully monitored independent engagement reported that 17% of pupils participating in Start have joined their young people’s programme – that equates to 219 students engaging outside of the project. In addition, nearly half of teachers surveyed strongly agreed or agreed that their pupils developed an interest in participating in the arts outside of school as a direct result of Start. 3.2.4 Partnership – common challenges Although the introduce objective has been successfully achieved overall (despite some organisations missing their total pupil target), there have been a number of challenges reported by arts partners related to their partnerships, with both first year and returning school partners. Increasingly arts partners across all art forms and geographical location are experiencing a drop out (entirely, or at the last minute before a session) of teachers and schools. This is attributed to changes in staff (such as where a previously enthusiastic teacher has left) as highlighted in last year’s evaluation, however more consistently reported in 2014/15 is the pressures on teachers to ‘fit’ Start into an already busy timetable. This has resulted in arts partners working much harder - having to find new schools, re-plan and catch up on missed sessions, or achieve less activity and engagement than originally intended as a result. It has also affected the delivery of CPD too – with many teachers unable to spare time out of the classroom.

“With all of the other pressures school teachers are facing the Start project sometimes does not take priority. This causes difficulty when confirmations to attend meetings are made and then at the last minute teachers do not arrive.” (Arts partner on second year of programme) “During the project it became apparent that the teachers and schools involved were challenged by the time commitment.” (Arts partner on first year of programme) 23

“Despite confirming activity dates early in the project at least one date for every school was rescheduled.” (Arts partner on second year of programme)

Partners have pro-actively responded to this wherever possible, being flexible with when and how they have delivered Start sessions – and have recognised that trust is absolutely imperative if teachers are to risk leaving the classroom for CPD. It has to be positioned – and believed to be worthwhile. Those partners working with secondary schools commonly reported that Start was not working well, and suggested the Image: Greenwich and Lewisham Young People’s Theatre model may need to be revisited. This was attributed to the changes in the secondary curriculum and the various models that secondary schools are now using within their performance management such as the E-Baccalaureate. Partners specifically reported that for secondary schools:  



 

It is difficult to get a full year group out of school at the same time to visit their venue The running time of performances has been difficult to work around for performing arts venues, as this often restricts the amount of time left for value added activity such as Q&A’s or talks with the actors (whereas visual arts partners are more flexible with their dwell time) Having a large number of pupils visiting a partner venue increases the number of teachers that are required to chaperone them – which therefore increases the pressure on schools and propensity to drop out Establishing teacher networks is taking much longer than anticipated due to their changing and multiple priorities The delivery time allocated for activities within schools has been significantly reduced from previous years by teachers compared to initial plans; this is a result of pressures on curriculum delivery and performance expectations.

“The schools have reported, and we also feel, that the model is more suited to primary schools and does not fully take into consideration the issues currently affecting secondary schools and particularly arts provision within them. The requirement for individual students to visit multiple times and for fairly high numbers to be involved (often whole year groups or the entire key stage) is very difficult for secondary schools to achieve and has been the main cause of difficulties for our project in both year 1 and 2. Although we have managed this so far, a model that appears more achievable may make it more appealing for 24

venues to work with Key Stage 3 and also for schools to be involved.” (Arts partner on second year of programme) “This year our partner schools have found it more difficult to engage with the project as it has been difficult to fit all the opportunities into their timetable. This has been for a variety of reasons including increased pressure on exam results, changes to school timetables and limited lesson time in schools.” (Arts partner on second year of programme) “We sometimes felt the model of delivery needed to be different for a secondary school as to that of a primary school – potentially there might be a Start strand for primary schools and a separate strand for secondary schools as they really have become different ‘beasts’. We sometime felt working with them in the same framework was very challenging.” (Arts partner on third year of programme)

3.2.5 Partnership - benefits Despite the challenges of maintaining and developing their relationships this year, partners have reported a number of positive benefits of joint-working – for both the arts organisation and the participating school. For example;  

 

Partners reported how teachers see the value in the work they do and as a result are booking for other programmes/products outside of Start There is evidence to suggest that some Start teachers are getting involved in wider educational networks and these are leading to potential engagement opportunities for schools beyond the life of the project Teachers are sharing their learning with other classes/throughout the school, so Start is indicatively having an indirect impact on pupils who have not directly participated Teachers are talking about, and willing to share the benefits of the Start programme elsewhere – it has indicatively developed a positive reputation within school networks.

“30 additional pupils from another local school, Caedomon Primary, were invited by Abingdon to join them on the visit. Abingdon wanted to share their experience with another school and to empower another school to visit and have a meaningful experience.” (Arts partner on third year of programme) “Michelle Bowen from Campion School has been keen to incorporate further departments to widen the outcomes of the project and create a bigger impact on the students taking part. She worked closely with the English department throughout year 2.” (Arts partner on second year of programme) “We have created a small advisory group of teachers who met at 3 points during the year – fed back on the program, helped with programming ideas, discussed 25

the workshop programme and generally worked with us delivering the residency days – they have also begun to redirect young people to our programs as well as stating a commitment to a longer term relationship with us.” (Arts partner on third year of programme) “4 out of 5 Start schools have engaged with us beyond the life of the project.” (Arts partner on third year of programme)

In addition, third year partners in particular believe that Start has had an organisational impact for them beyond the direct participants of the programme, for example it has indirectly helped develop advocacy with funders about the value of their organisation, building positive reputation and has demonstrated how they can contribute to placemaking. Place-making (often also called ‘placeshaping’) is widely understood to describe the ways in which local players collectively use their influence, powers, creativity and abilities to create attractive, prosperous and safe communities, places where people want to live, work and do business.14 It has also opened up new communication channels with other delivery organisations and freelance practitioners within their communities.

“The Start programme has successfully helped us develop as a venue particularly in the eyes of our local authority...it has increased the value our local authorities put on us as a local venue and arts provider.” (Arts partner on third year of programme) “A spin off has been the relationships we’ve made in that community, especially with a grassroots arts organisation – so it’s been good for us developing our wider outreach programme.” (Arts partner on second year of programme) “As a new gallery, offering new ways of working in the City, the relationship with schools has not only helped us hone our educational practice, but also built our reputation within the education sector and with local stakeholders.” (Arts partner on third year of programme)

Positively, staff across arts partner organisations have seen a value in the long-term structure of Start and have either directly learned from this – developing the quality of their learning offer as a result - or are using it as a model in future education and engagement work.15

This particular definition is taken from Future Communities, however others are available. Legacy, especially strategic educational delivery impacts on third year partners and those who have left the programme previously are discussed further in 3.7. 15

“As a result [of Start] we are looking at ways to develop a similar structure that is open to all schools to buy into with 3 visits and professional development each year.” (Arts partner on third year of programme) “…we are already applying the model to other funding applications.” (Arts partner on third year of programme)

3.2.6

Introduce: recommendations

Recommendation 1

•The structure of the Start programme has been successful for developing ownership and confidence. However Children and the Arts may wish to revisit the Start model for secondary schools in particular, especially regarding the approach used by partners and target numbers

Recommendation 2

•Adding a compulsory requirement within the programme evaluation for arts partners to track independent visits or participation from pupils, families and teachers beyond the programme could be useful to more robustly evidence this impact e.g. offering incentives to return such as trackable vouchers, asking pupils for specific examples of return visits, or monitoring take up of volunteer or post school club attendance as a direct result of Start

Recommendation 3

•Utilise the online digital resources that schools are capturing for positive PR stories and advocacy. A digital bank of Children and the Arts projects could be created e.g. on a Children and the Arts Youtube channel where project videos are stored in one place - either for public or private partner network access

Recommendation 4

•Use the positive stories around partnership benefits reported by partners with future Start funders e.g. stakeholder advocacy, placemaking and investigate these in more depth through research questions in 2015/16 evaluation

3.3

Inspire

Objective: “Pupils and teachers are inspired to find out more by interacting with arts professionals. Pupils develop an appreciation or enjoyment of an artform.” 3.3.1 Being inspired through increased confidence A key aim of Start is for children to become increasingly confident in their own right. This was a key successful outcome for 2014/15, with many of the participating young people reporting that it had boosted their self-esteem. 97% teachers agreed that Start had helped pupils to become increasingly confident and creative in their own right and 82% stated it had helped increase their selfesteem (a decrease of just 1% from 2013/14).

“I have learnt that we have to have power, strength, courage and we have to believe in what we want to. No one can stop us!” (Pupil) “6 out of 7 lead teachers mentioned ‘confidence’ when asked if they had noticed any changes in the students.” (Arts partner on first year of programme)

Image: Iniva

Teachers also reported the development of ‘life’ skills (such as team work and social situations) as well as growing in confidence academically within the classroom. 86% of teachers believed that taking part in the Start programme had a positive impact on their pupils’ overall personal development (an increase of 6% from 2013/14) with 86% of teachers stating that Start had helped their students gain team working skills (-3% from 2013/14), and 82% reporting it had helped their students to gain social skills (-5% from 2013/14).16 3.3.2 Inspiring future careers – the importance of including artist practitioners As in previous years, one of the key drivers for developing confidence and encouraging students to engage with the Start programme was clearly the interaction with arts professionals. Working with ‘real’ artist practitioners in either venue or classroom settings brought the arts to life and subsequently inspired students (and indeed teachers) to ‘give it a go’ themselves. During 2014/15, pupils across the programme had access to a range of artist practitioners from professional authors and international contemporary artists through to performance artists and actors. For schools, being able to access an artist as well as a cultural institution was seen as a unique aspect of the programme; it was highly valued and the experience was reported as one they would not ordinarily have access to.

Although the figures behind these percentages (and therefore the decline in real numbers) is low, it is worth monitoring both team work and social skill outcomes in 2015/16 evaluation, to review if there is a declining trend forming, or whether this was simply the case this year.

“When the artist talked it made the work real.” (Pupil) “Meeting the artist was a once in a lifetime opportunity.” (Pupil) “The most beneficial part was the opportunity for students to work with artists.” (Teacher on first year of programme)

Image: Nick Thorpe, Author, Festival City Theatres

In the 2013/14 evaluation it was noted that including artists within the Start programme had also helped to inspire pupils in terms of their future career opportunities. This outcome was also reported again in 2014/15, with some striking anecdotal examples provided by partners of how teachers believe the programme is potentially having a direct impact on subject choices made by pupils, particularly at key stage three.

“Anecdotally, we have heard from teachers at [name of school] that pupil take up of drama at GCSE has been higher since pupils have started taking part in Start (14% of students are hoping to take drama, with 7% still undecided when completing the questionnaire).” (Arts partner on third year of programme) “All the schools have reported that through the project the profile of art has been raised within the school and because of this students are taking up more opportunities to engage with the arts at school including an increase in students taking art or other creative subjects at GCSEs.” (Arts partner on third year of programme) “By offering the pupils a practical context to the creative industries it has enabled them to make the connection between the workshops and a career in the theatre. When asked to comment after their first visit to the theatre a pupil enthused that they …’would love to work here’ and another said they …’want to work on lights and sound here’” (Arts partner on first year of programme)

3.3.3 Inspiring changes in behaviour or effort Whilst the scope of this evaluation cannot track pupils individually over a period of time, anecdotally teachers and partners both reported positive changes in their students and attributed these in whole or part to Start. For example, those who were typically disengaged, lacked confidence or struggled academically made an improvement either with their classwork or their behaviour as a direct result of participating in the programme. In addition, 93% of teachers stated that it had helped their students with listening and speaking skills and 76% teachers strongly agreed or agreed that Start has had a positive impact on how pupils engage with school and school work. It has also indicatively helped to build stronger relationships between teachers and pupils – with teachers reporting an improved rapport with previously disengaged children. And finally, there was one striking example of how a particular pupil who used English as his second language had become inspired to speak out for the first time in front of the class because of a particular artwork which he was able to relate to, and felt able to share that knowledge with others.

“Children you wouldn’t expect to engage have flourished in this creative programme.” (Teacher on third year of programme) “This experience has helped me to build further positive relationships with my students.” (Teacher – survey response) “This project turned a reluctant writer into one our most prolific writers - his retelling was exceptional” (Deputy head teacher on third year of programme) “One particular EAL pupil came from North Africa. He never wanted to read things out to the group over a couple of sessions. Then we had an exhibition in the gallery from the Middle East, and one of the series was documenting graffiti. We’ve not been able to translate it – he came up to me and said ‘I know what this is, I know what it says’. I’ve never heard him say anything before. He read it in Arabic and pointed out specific words he was able to translate. He was really proud of himself.” (Arts partner on second year of programme)

3.3.4 Inspiring an enjoyment or appreciation of art There are many examples across both teacher and partner feedback where children have developed an appreciation/interest in an artform or been inspired to become creative in their own right. For example, students have engaged outside of the Start project by independently joining art groups or volunteering as described previously in 3.2. Plus there are numerous examples of how participation within art partner venues has inspired pupil and teacher activity back in the classroom, such as building on a project or theme after their visit.

“I learnt that art is amazing and it makes me want to find out more.” (Pupil) “I enjoyed it a lot and I really liked writing the script.” (Pupil) “As a result of their involvement in Start, [name of school] have created an all-school independent art day Image: Saatchi Gallery focussing on [name of arts partner] and reflecting on their experience. All staff and pupils are involved using ideas from the workshops and Teacher CPD sessions.” (Arts partner on second year of programme) “Children loved it and off their own back made mobiles when they got back from school”. (Teacher on second year of programme) “As a teacher I have grown to appreciate art much more and can now think of so many ways to link it to many aspects of the curriculum.” (Teacher- survey response)

With 100% of teachers agreeing that Start has helped pupils to develop an appreciation of an art form, it is clear that the programme continues to inspire ongoing artistic activity within the classroom as well as independently. 3.3.5

Inspire: recommendations

Recommendation 1

• Consider whether there are benefits to making the inclusion of artist practitioners compulsory within the programme, as these have such a huge impact indicatively on the participants and teachers

Recommendation 2

•Include more feedback opportunities within the evaluation framework for 2015/16 to capture the experience of and outcomes for participating artists e.g. their own CPD or learning

Recommendation 3

•Seek further evidence from teachers in 2015/16 evaluation to correlate participation in Start with options chosen at Key Stage 3

3.4

Enhance

Objective: “The experience of pupils is enhanced through critical analysis and participation in workshops with professional practitioners and teachers who are offered CPD.” 3.4.1 Critical analysis One of the key objectives of Start is for partners to include an element of critical analysis so that participants can begin to confidently understand and express their own responses to an art form. During 2014/15 all of the participating organisations included some form of critical analysis within their projects and so this was widely achieved. Partners ensured that this element was included through various creative means – from Q&A sessions with the cast and creatives and by using ‘young critics’ at performing arts venues, through to interviewing international artists and posing key questions to practitioners in workshops at visual arts and museum venues. Including critical analysis was a highlighted success story for Start this year, with students reportedly becoming more confident in developing their own opinions of artworks and being comfortable to challenge others. And as with previous years, the inclusion of a range of different workshops and artist-led sessions supported this critical analysis approach.

Word cloud showing the variety of workshops on offer during 2014/15

“The students were asked to come up with questions for Ibrahim [the artist] – they asked him pertinent and challenging questions. The students were asked to write some feedback for the artist which was sent back to him in Ghana, wrapped in a jute sack [inspired by the artist’s work]!” (Arts partner on first year of programme)

“Coming up with questions as part of the workshop helped me to better understand the work.” (Pupil) “Each of the Museum workshops encouraged students to ask questions and use critical thinking skills to draw conclusions about objects and identity.” (Arts partner on second year of programme) “The children are able to discuss, explain, voice opinions and reasons why they think.” (Teacher on third year of programme)

Across the 2014/15 programme, the variety and chosen content of workshops truly enhanced the experience of students, from increasing confidence and motivation to developing creative ideas and fuelling imaginations. Once again, being able to engage with professional practitioners as outlined earlier was key to this – and also reportedly Image: Manchester Museum helped students to take the activity more seriously. Working alongside practitioners was also a key learning opportunity for teachers, who were able to watch the artists teaching their artform within the classroom, and as a result could then go onto replicate that approach or technique themselves.

“…the workshops with Jan (theatre designer) were brilliant and have really informed how we can teach design to S1/S2 – there was a real buzz in the lessons! We would love to have her back.” (Teacher on first year of programme) “Critical analysis was evident in all sessions for all schools…workshops had elements of looking, judging, analysing and giving an opinion – in groups or individually. The activities allowed the children to explore and understand the artist’s process as well as try it out. This gave a more informed perspective, which they could then use to critique at a later point.” (Arts partner on second year of programme)

3.4.2 Teacher CPD As highlighted last year, the most successful school partnerships were indicatively built by Start partners who provided CPD sessions for their teacher colleagues. The sessions gave organisations a really valuable opportunity to foster deeper, personal relationships with their teaching partners and to develop a sense of trust, which is much needed given the challenges faced with time pressures this year. Whilst three quarters of teachers completing the survey positively rated their CPD/training as either excellent or good, only 10% (3 teachers) rated it as excellent, so this may be an area where Children & the Arts can more readily support partners to increase levels of satisfaction, moving from ‘good’ or ‘OK’ to ‘excellent’. Considering the feedback on the teacher survey, these mid-ratings could be attributed to the content not meeting the needs of Image: Teacher CPD at Baltic teachers and/or the wrap-around welcome provided.

“The CPD needs to be more informed about education rather than just doing the tasks the children do.” (Teacher – survey response) “Many of us had travelled after a long day teaching and we were starving!” (Teacher – survey response)

The majority of overall feedback from teachers was extremely positive, with the main benefits of attending CPD referenced as: 

 



Being able to see first-hand what the pupils will be doing in their own sessions, which means the school and arts organisation can work together to tailor or differentiate content in advance, depending on the needs of pupils e.g. EAL Accessing quality resources which can be used and adapted back in the classroom (one of which was developed by the teachers themselves17) Enabling teachers to become more confident in discussing art and employing critical analysis methods (including one partner who offered philosophical enquiry training to help planning and teaching) Providing teachers with ways to use art across the curriculum.

http://balticmill.com/uploads/They_Used_To_Call_it_the_Moon_Learning_Resource.pdf

“The CPD and the resources were both very useful. It was great that during the CPD day, we were able to quiz the author and the main character I was able to ask how and what motivated him to write the play.’ (Teacher on third year of programme) “I feel really supported on these days. They work particularly well when the artists come with lots of different activities to try and when they let us do it at child level as it takes the pressure off us to produce anything as adult artists.” (Teacher on second year of programme) “‘I think the teacher CPDs are very useful … I really enjoyed the exercises and practically exploring them myself. I LOVE the resource packs. I think that they are so useful and full of creative, engaging and imaginative tasks. I also find the context and background information of the play, writer, director etc. very helpful.” (Teacher on third year of programme)

3.4.3 Helping to deliver the national curriculum Start aims to fund educational work which supports the delivery of the national curriculum and encourages teachers and schools to participate further in the arts. There are numerous examples from teachers and partners in 2014/15 which indicate how Start is influencing the delivery of subjects back in the classroom and whole school environment. Teachers have gained new ideas and skills – whether critical thinking philosophy or practical artistic techniques – and these are being proactively shared with colleagues. In fact, the post-project surveys Image: Festival City Theatres Trust found that 83% of teachers said that they would use their experience of Start to inform classroom work. As described above, there is some evidence to indicate that teachers have – or will – use their experience with Start to inform delivery in the classroom or throughout the whole school. For example, the programme has enhanced understanding and provided new skills in teaching art-based subjects at both primary and secondary;

“Teachers observed a more efficient way to deliver this element of the curriculum. They have now re-modelled their design module using the methods and techniques used by the professional practitioner.” (Arts partner on first year of programme)

“…it’s had a real impact on the way I taught drama in the last term – students seemed to have a much better understanding of how stage directions worked and the importance of staging a reading, rather than reading from our desks. (Teacher on third year of programme) “We used ALL of the ideas from this session with the children in school. It was great to get them drawing in so many different ways and using so many different materials. By the end of the session they had forgotten that they thought they couldn’t draw and we had tables full of amazing drawings and designs” (Teacher on second year of programme)

as well as in other non-arts curriculum subjects;

“One teacher discussed how art is helping to support Maths lessons and others discussed how exhibitions at mima have helped to explore PSHE subjects.” (Arts partner on third year of programme) “The session has opened my eyes to new approaches when teaching Geography.” (Teacher on second year of programme)

The teacher survey revealed that 96% of teachers stated they would use their experience to inform Art (+17% from 2013/14), 57% in English (-3% from 2014/15), 36% in DT (-13% from 2012/13) and 32% in PHSE (-17% from 2013/14). However, they expressed that they would use their experience the least in Science (0%), Welsh (0%), RE (1 teacher), PE (1 teacher), MFL (2 teachers) and Maths (3 teachers). This is comparative with last year. Although the qualitative feedback from teachers reflects the belief that Start has positively impacted on students writing, the quantitative findings from the teacher survey reveal that only 39% thought that Start had helped their students to gain reading or writing skills (an increase of 4% when compared to last year). Overall however, 69% teachers agreed that Start has had a positive impact on pupils’ overall academic achievement. 3.4.4 Challenges There were some challenges reported related to the enhance objective this year. On the whole these mainly reflected the issues raised above around the time pressures felt by schools. This impacted on attendance at CPD sessions – which often had to be shifted, changed or missed altogether – as well as with artist sessions at the partner venue or school.

“The new head teacher there is mainly concerned with delivering HMI results and is no longer allowing the teachers out to attend the CPD sessions.” (Arts partner on third year of programme) “A small handful of teachers didn’t commit as strongly to the allotted times of the sessions as others did. Despite both schools walking to the gallery this year, a small handful of teachers struggled with punctuality and expected to leave the sessions early or arrived late which had a direct impact on what was achievable within the two hour session.” (Arts partner on second year of programme)

Image: Jerwood Gallery

Three organisations (Gallery Oldham, Falkirk Community Trust and Manchester Museum) did not deliver group CPD sessions during 2014/15. Whilst time is an ongoing barrier, measures are being put in place wherever possible – for example, Gallery Oldham have demonstrated the value of CPD with the head teacher of one school who has subsequently agreed that teachers can attend in the future. Manchester Museum offered one-toone teacher feedback sessions this year and will invite teachers to their Teach Meet during 2015/16.

3.4.5

3.5

Enhance: recommendations

Recommendation 1

• Continue to include a critical analysis element within the programme as this developed both students and teachers knowledge and confidence

Recommendation 2

•Using arts professionals within a classroom environment can help teachers learn skills and techniques to use in the future and share with colleagues. Partners should therefore be encouraged to use artist facilitators within outreach workshops

Recommendation 3

•Create shareable case studies from arts partners who have built strong relationships with their partner schools as a result of CPD. This could demonstrate the importance of its inclusion within the programme for both arts partners and schools

Recommendation 4

•Pool together relevant teacher resources developed through the programme in an online hub. Teachers could then use these to develop and share ideas of how to deliver arts and non-arts subjects

Recommendation 5

•Use the curriculum-wide evidence impact of Start as a lobbying tool for further funding and to generate positive PR around the wider impacts of the programme

Recommendation 6

•Review quality of CPD delivery to assess whether support can be provided to increase satisfaction ratings from good and OK to excellent. This could be an area of focus at the next Start Partner's Day

Create

Objective: “All Start projects must include an element of creative activity for the pupils to further develop their understanding and interest in an art form.” 3.5.1 A chance to create All Start partners during 2014/15 included some form of opportunity for pupils to produce a creative response. As shown in the earlier experiences table and workshop cloud, partners offered a wide variety of opportunities to engage in creative activity and this was often responsible for creating a sense of enjoyment and appreciation in an artform. It also gave the children an opportunity to put their critical analysis experience into action; to become more confident in taking independent decisions when creating their own artwork.

Image: Greenwich and Lewisham Young People’s Theatre

“Children don’t ask to use rubbers now and value every mark as a piece of art.” (Teacher – survey response)

From creating digital artwork and installations, through to storytelling and performance pieces, each pupil was able to spend time producing something creative. Indeed, 100% of teachers stated that 38

Start helped their students to develop creative thinking skills and many partners now in their second and third years (working with the same children each year) have reported noticeable increases in the progression of their pupils.

“I learned a lot about creative stuff. I enjoyed making our models” (Pupil) “I have learned that I can be so creative!” (Pupil) “You can see the progression in their observational skills from this time last year.” (Artist on second year of programme)

Within the challenging context of curriculum pressures, the opportunity to create a piece of art – whether written, performance or visual - was something that teachers positively recognised as being a key benefit to the Start programme. It was described as an opportunity for children to develop skills, for example working with new and different mediums that they may not have access to in class. And by working directly with artists, they were able to explore and learn specialised techniques. Having the opportunity to access creative activity was highlighted by teachers as something that is lacking in the current curriculum and so Start ‘gives a breather’ from typical learning patterns; it helps students apply creative thinking in a different manner.

“They spend so much time in schools on literacy and numeracy tasks that they really enjoy having a morning away from that and representing their ideas in other ways”. (Teacher on second year of programme)

3.5.2 Pride in creating and performing Having the ability to share their creativity with others – whether that was a display of work in a ‘real’ gallery or having their work read out by a professional actor - was extremely popular with pupils, particularly as it gave them a sense of pride in their work. A number of partners reported how sharing work had especially been a special achievement for SEN children, or those with English as a second language – as it gave them a voice.

“At the start [of the actor reading out his story] he [pupil with Asperger’s] had his head in his hands and wasn’t looking up, although Mum and Dad were proud. By the end of the story he had his head up and took the applause. His parents came to us at the end and thanked us.” (Arts partner on second year of programme)

There were a number of extensions to the regular ‘family celebration’ events this year, for example, pupils being ‘tour guides’ of their exhibition with the generic public at the Saatchi Gallery. Being able 39

to have work displayed in a space, published online or in a book, and the opportunity to perform also indicatively increased confidence and self-esteem.

“One student who struggled to share their work with peers due to low self-esteem overcame this due to being excited that her work would be shown in a public space.” (Teacher – survey response) “Children love all opportunities to learn outside of the classroom but the experience and pride they have gained, particularly from seeing their work on exhibition at the gallery, has been immeasurable.” (Teacher on third year of programme)

Image: Nottingham Contemporary

And as described earlier, being able to share what pupils had creatively produced online as well as offline was also a common theme this year.18

For example, this film https://www.youtube.com/watch?v=TQbUzWrP6_I

3.5.3 Unexpected outcomes Finally, there were some unexpected, positive outcomes related to the create objective. For example, one arts partner worked with a publisher to deliver workshops in schools following creative writing sessions with an author. This was additional provision that the organisation funded themselves which resulted in the pupils having their own stories published in a book. Another arts partner reported how art had played a cathartic purpose for two particular pupils at one of their schools.

“I think the children got an extraordinary learning journey and proud learning journey because all of their books have an ISBN and are in libraries. Long after these children are with us, their grandchildren can go to libraries to request a book that they wrote.” (Arts partner in second year of programme). Image: Impressions Gallery “Pallister Park School used ’10am is when you come to me’ by Louise Bourgeois to explore the idea of togetherness and separation by creating their own paintings of their hands. Our main teacher contact at the school, Rebecca, said ‘we had children paint hands belonging to their younger siblings who now live in separate homes due to social services interventions. They deliberately had their hands pulling away as 'they will never touch them again'. (Arts partner on third year of programme)

3.5.4

Create: recommendations

Recommendation 1

•Maintain inclusion of a creative element as a key requirement of the Start programme as this clearly inspires pupils to develop their own enjoyment and interest in an art form

Recommendation 2

•Holding a celebration event or public showcase of work should be encouraged as this drives participation, fosters pride and increases confidence and self-esteem

Recommendation 3

•Examples of other types of celebration event should be shared with Start partners to encourage them to think more creatively about what this could be and how it could engage families independently

3.6

Operational effectiveness

An aim of the 2014/15 evaluation was to ascertain the perceived operational effectiveness of the Start programme. The below commentary reviews the most common themes arising, ranging from what makes Start a good experience, through to what could be improved or developed in the future to make that experience even better. 3.6.1 Structure and support As found in 2013/14, the structure of the Start programme continues to be recognised as one of its major strengths. Having a programme where a funder commits to, and expects delivery of, a threeyear programme is viewed by partners and teachers as a unique and beneficial model. Partners believe the structure allows all those involved to develop really strong relationships; and there are multiple benefits from working with the same children in terms of increasing their confidence, expanding their learning and developing ownership. However, it is the flexibility and support from Children & the Arts which is most commonly referenced as being responsible for creating an enjoyable and positive experience for partners. As with the 2013/14 evaluation, arts partners described Children & the Arts as a ‘different’ kind of funder – one which was seen more of an equal partnership than that of a hierarchy. The team were described as supportive, knowledgeable and understanding – particularly whenever any challenges arose. It is this approachability which arts partners believe sets Children & the Arts apart from other funders.

“The support and the encouragement from the Children & the Arts team is excellent – a partner, more than a funder compared to many funding programmes.” (Arts partner on third year of programme) “We have found the team at Children & the Arts to be very knowledgeable and helpful when it came to contacting them for any minor issues or changes. It’s very reassuring to have a designated person to contact if needed who is knowledgeable about your project.” (Arts partner on second year of programme) “The support from the team at Children & the Arts has been brilliant. I think it is these things that make the project stand out amongst other funders.” (Arts partner on first year of programme)

A common theme raised this year by partners was how positive and useful they had found the evaluation process. Having a point at both the middle and end of the year was deemed to be an opportunity for partners to reflect on, and address any concerns together with Children & the Arts. It was also seen as an opportunity to draw on the skills and knowledge of the team to support them in any challenging areas. Some partners also referenced Image: Nottingham Contemporary the financial model of Start as another aspect of the programme which encourages a regular evaluation and review of progress through clearly defined milestones.

“We’ve found the beginning, mid-way and final evaluation questions wellstructured and detailed, enabling higher quality evaluation of the project.” (Arts partner on second year of programme) “The breakdown of funds into three instalments works well in order to effectively budget and deliver the project across the year. This also allows Children & the Arts to request feedback at the mid-point of the project, which encourages organisations to ensure evaluative measures are put in place from the Start; which is not the case for some other funders. It ensures that evaluation forms a key part of the planning process.” (Arts partner on year two of the programme)

3.6.2 Start Partner’s Day The annual Start Partner’s Day is a chance for arts partners to come together from across geographical locations and art form. It continues to be extremely popular with partners who all reported that the day is extremely useful, particularly for providing networking opportunities and shaping/developing ideas. However, the content is felt less relevant to those in the third year of their projects. It may therefore be worthwhile to consider specialist content for future Start Partner Days so that completing third year organisations (or those going into their final year) feel it is still relevant for them to attend (and are therefore motivated to go), for example a greater discussion around legacy and sustainable resources – building on the short session that was held during the 2014/15 partner’s day.

“…it was also very useful to meet with other organisations embarking on the Start project. This enabled the sharing of good practice and an understanding of different Start models.” (Arts partner on first year of programme) “The annual Start days with other partners are very useful and well-structured and a valuable ‘talking shop’ for arts venues working in conjunction with the education sector.” (Arts partner on year three of programme) “I am not sure how useful the Partners Day is for those of us that are now in year 3 of the project.” (Arts partner on year two of programme) “I felt that Start Partners Days were a really important element of the process. Being able to discuss experiences with other organisations and best practice. I would say this really empowered organisations and facilitators on their Start project journey.” (Arts partner on year three of programme)

3.6.3 Improvements The majority of Start partners had no suggestions for how the programme could be improved, which is in itself a positive indicator of satisfaction. Those with ideas to share related to regularly sharing and utilising the knowledge that exists within the Start ‘community’ – both past and present (such as in an online forum or through regional and sub regional networks), and – as highlighted in last year’s evaluation – holding the Partner’s Day outside of London.

“It would be great for those just finishing Year 2 to hear from past Start alumni about the legacy and how they have sustained it.” (Arts partner on second year of programme) “Perhaps a more central location for the Start Partner’s Day would limit the travel time required to attend?” (Arts partner on first year of programme) “Perhaps Partner Days might be hosted by some of the Partner Venues across the country, allowing an opportunity for partners to network and share good practice more effectively?” (Arts partner on second year of programme) “Improvements could be made into how the Start model shares case studies and successful project outcomes across the country and how frequently this information might be shared.” (Arts partner on third year of programme)

Only one arts partner described a negative experience during 2014/15 which related to the promptness of payment. 44

Finally, it must be noted at this point that Impressions Gallery in Bradford are not continuing into their third year of the programme. The reasons for this are twofold. Firstly, the staff member responsible for delivering the programme has not had their contract renewed, and there is no available member of staff to manage the workload. Secondly, the partner reported that they were not aware of the reduction in funding from Children & the Arts going into their third year.19 Despite this being included in contracts and raised at the Start Partner’s Day each year, the arts partner suggested that it had not been made clear enough. This confusion may be attributed to changes in staff from the first year of projects and legacy when those people leave, or in the communication of the project terms and conditions between fundraising teams and project delivery staff. The evaluator notes that in a parallel project, Start Hospices, one arts partner going into year three in 2015/16 was also surprised to find out about the shortfall at the recent Start Hospices Partner’s Day. Whilst they are able to continue and find the resource from within their core budget, Children & the Arts may wish to reinforce this change in resource for third year organisations across both programmes, and make it clearer within both contractual material and update information. Within the teacher’s survey, school partners were also asked for suggestions of how the programme could be improved. Although satisfaction levels were generally high, time was a criticism of the programme by some teachers. Both in terms of the time that children were given and the timing of when the activity happened. For example, one suggested that the task they were given was too close to the end of term for children to engage with it effectively. The same teacher also suggested that the day spent at the theatre was too long. Conversely, another teacher reported that sessions were too short. And teachers were also critical of their own (lack of) time to get personally more involved, and the time restrictions that they faced being able to take children off timetable.

“Consider access to artists within schools for longer periods of time, e.g. two or more days.” (Teacher responding to online survey) “I felt that [the task] was too close to the end of term for the children to really engage with it. I felt the workshop before [the performance] was poor and didn’t really benefit the kids as they couldn’t really take part. The whole day was very long and a lot of the children were tired and falling asleep during the performance.” (Teacher responding to online survey) “The sessions were far too short and children were frustrated when they didn’t have a chance to finish something.” (Teacher responding to online survey)

Partners receive 70% of their annual budget in the final year, in order to encourage staff to source sustainable alternative funding resources to continue the programme once Children and the Arts has withdrawn at the end of year three.

3.6.4

Recommendations Recommendation 1

•Continue holding the Start Partner's Day, however consider varying the location by visiting other partner venues across the country

Recommendation 2

•Find ways to support venues to network more regularly and share resources throughout the year - for example by using Basecamp or another online sharing tool

Recommendation 3

•Within the content of the Start Partner's Day plan bespoke activity for those in, or going into their third year. Invite Start alumni to return and talk about the legacy of the programme and funding resources

Recommendation 4

•Review written information provided to Start partners (both delivery and fundraisers) before and during the programme regarding the reduction of funding in year three. Send reminder communication out to year two partners

Recommendation 5

•Continue the evaluation process of mid and end point reviews as these supported organisations to be self-reflective and gave structure to their year

Recommendation 6

•Monitor future teacher's comments related to the time and timing of activity with their pupils. Remind arts partners to hold an open dialogue with school partners to ensure both needs are met

Words used by sample of Start partners and teachers to describe their experience of Start 2014/15. The most commonly used words appear the largest.

3.7

Legacy

This evaluation report is authored at the end of 2014/15 prior to 2015/16, which will be the 10th year of the Start programme. Children & the Arts therefore wanted to undertake an additional piece of snapshot research at this key milestone to understand the programme’s legacy. An incentivised online survey was sent out to previous Start partners20 and of those, eight participated. For context, five of the respondents had completed Start in 2011, two in 2012, and one

See methodology in 2.1.1 for limitations.

in 2009. These ranged in art form, including mixed arts, literature and storytelling, theatre, dance, and visual arts. 3.7.1

Legacy key facts table Findings All organisations agreed that they would recommend the Start programme to others. All organisations strongly disagreed that they regret taking part in the programme.

75% of organisations (6) agreed that the Start Partner’s Day is important for learning and sharing ideas with other partners. 1 organisation felt unable to comment (not having attended) and 1 neither agreed nor disagreed. All organisations agreed that they developed new ways of working with schools as a result of Start (with 62.5% strongly agreeing). 5 organisations agreed that they made useful contacts by being part of the Start network, although only 1 organisation strongly agreed. 3 organisations neither agreed nor disagreed. 5 organisations agreed that taking part in Start impacted on the way they communicate with schools. 3 organisations neither agreed nor disagreed. All organisations disagreed with the statement ‘nothing changed at our organisation as a result of taking part in the Start programme.’

3.7.2 Continuation of partnerships Respondents were asked to describe their relationship with the majority of Start schools since finishing. Positively, all eight reported that they were still working with their Start schools partner/s since completing the programme, albeit in a variety of ways. For example, 62.5% (5) organisations stated that they have continued to work with their partners in school (e.g. artist workshops in class), 37.5% stated that they continue to visit for workshops (3 organisations), 37.5% continue to offer CPD opportunities (3 organisations) and one organisation said that teachers had joined their panel or that they use them for consultation. Whilst partners have maintained their relationships, some have seen the type of engagement and numbers reduce. For example, schools have continued to bring children to performances but have not bought into any additional participatory activity, the amount of proposed activity has been restricted due to the availability of funding, or a fewer children are being engaged with.

“We have continued our partnership with the schools; - when funding has allowed - by offering advice for schools to use their own delegated budgets to involve practitioners of all art forms.” (Previous Start Partner completing legacy survey) 47

“We are in the eighth year of our Start programme, now called Continued Theatre Trips (CTTs). The format is the same but we can now only afford to work with 600 students per year instead of 1800 students per year. Working with Children & the Arts’ funding also allowed us to offer more extras in the way of exhibitions, awards and guaranteed in-school pre-theatre workshops.” (Previous Start Partner completing legacy survey)

However there are some striking incidences where previous partners have seen long-term outcomes for their schools as a result of the programme, such as engagement and independent buy-in of artists to deliver classroom sessions. Partners describe how the Start model has continued to be used as a framework for projects, and that resources and advice collated throughout their time on the programme is still being drawn upon. Furthermore, all eight respondents agreed that they continue to use elements of learning from Start in their work today. Start has indicatively supported organisations to develop, shape and continue their education programmes – influencing the structure, format and content which continues to this day. Indeed, previous partners were asked to rate the areas in which Start has had the most impact upon - with half of previous partners stating that it had the most impact on developing a sustainable relationship with participating schools. A quarter felt that it had most impact on thinking more strategically about their education and learning programme. One organisation said it had impacted the most on developing staff CPD and in particular their knowledge about practically working with schools.

“Some schools have engaged artists they met through Start on a long term basis. One infant school has formed a 'deep' partnership with the artists so that for 4 years it has employed one of the artists for one day each week throughout the school year. Other schools have developed their own data-base of artists starting with those they met through Start...” (Previous Start Partner completing legacy survey) “Funding from the Paul Hamlyn Foundation enables us to continue working with some of the four secondary schools on a model not dissimilar to the Start programme.” (Previous Start Partner completing legacy survey) “The model we developed through Start has been a successful one which we continue to use as a framework for schools projects. We still refer to the resources and advice through the programme also.” (Previous Start Partner completing legacy survey)

3.7.3 Embedding learning Through the survey, partners were asked to specifically describe how they have embedded their learning and experience from the Start programme. One described how they had grown their CPD 48

programme, another described how advocacy materials have been developed for future school recruitment, and strikingly two partners described how learning from Start was being shared with other teachers or implemented across wider projects.

“We invited participating staff from 'Start' schools to lead 'Teachers' Forum' sessions for other schools – we’ve used ideas developed from the programme in projects with other schools or passed them on as advice to other schools wishing to develop a more creative curriculum.” (Previous Start Partner completing legacy survey) “We were part of a consortium which delivered the Find Your Talent programme in Liverpool region. We have developed the accompanying teachers’ packs for our children's programme.” (Previous Start Partner completing legacy survey)

However, the most common response was how previous partners are using their experience from Start to strategically influence current activity in their own organisation. This is a positive indication of how Start has the potential to leave a long-term legacy on the development of education and learning activity within arts organisations, way beyond the scope of the project.

“We carry out lots of work with schools and within education anyway, but Start has helped shape our current programme with secondary schools and inform Inside the Rehearsal Room, our paid for pre-show workshops for secondary school Drama students.” (Previous Start Partner completing legacy survey)

In addition, to assess whether Start made a unique contribution to these partner organisations, respondents were asked whether they have been able to do something specific as a direct result of participating in Start. It is clear from their responses that being involved gave these organisations a solid foundation on which to build their education strategy, as well as confidence in delivery. Partners reported how taking part enabled them to develop a stronger programme for schools, to build better relationships with artists (including those working internationally), and to lobby for further funding – particularly as they were able to evidence the difference that Start had made over a long period of time. One partner described how Start had given staff the confidence to seek further funding for similarly ambitious projects.

“Due to the success of three years delivering the programme with funding from Children & the Arts we could demonstrate its importance to schools and with recognition within our organisation we could ensure funding was allocated to continuing the project.” (Previous Start Partner completing legacy survey) 49

“Start enabled us to make the transition from being an organisation that had predominantly worked with adults with a learning disability to an inclusive theatre company that delivers to all age ranges. We are now considered to be one of the leading regional organisations delivering work for children and young people and experts in Arts Award delivery - none of this would have been possible without our Start project.” (Previous Start Partner completing legacy survey) “Although we now run the programme successfully from in-house we just would not have been able to set the system up without Start as we are a small theatre with a one-day-a-week education department. The project gave the education officer an extra day a week, which enabled the programming and paperwork to happen. The introductory day in London offered good ideas and also pitfalls. After 3 years, we had the blueprint set up and were then able to find enough funding to continue with fewer admin hours required.” (Previous Start Partner completing legacy survey) “Learning from 'Start' for our own staff developed confidence to go out to find money for more ambitious projects.” (Previous Start Partner completing legacy survey)

3.7.4 Post-programme challenges and support To assess the potential post-programme support and signposting that Children & the Arts could give to alumni, previous partners were asked about the key challenges they faced once leaving the programme. The majority (7 organisations) said that finding funding in order to sustain the same level of activity for schools was the main challenge. Three organisations suggested that communication with the schools/teachers had also been a challenge.

“I think to some extent, when schools have received an offer free or low charge, it can be hard to get them to buy in at full cost subsequently.” (Previous Start Partner completing legacy survey) “Access to funding in a time of economic difficulty and losing Arts Council support.” (Previous Start Partner completing legacy survey)

Following their participation in Start, the majority of partners had either sourced additional funding streams from elsewhere (working closely with their fundraising team to find these) to enable activity to continue, or had received support from their schools and partner delivery organisations. Positively, some partners reported how they specifically look for long-term funding opportunities to cover work over a three year period, rather than simply focussing on short-term solutions. This

demonstrates the value that partners place in the longitudinal Start model and their commitment to continuing to deliver sustained rather than ‘one off’ activity.

“We have found alternative project funding to continue to explore other developmental areas with the Start schools to ensure the legacy continued.” (Previous Start Partner completing legacy survey) “Our Fundraising department sought new funding streams and received funding from a Trust which was allocated to the project for a 4 year period. We are currently seeking new funding streams through trusts, foundations and corporate sponsorship, asking for money over a three year period to enable us to continue delivering the project.” (Previous Start Partner completing legacy survey) “We identified trusts that were specifically interested in funding creative projects for young people in areas of high deprivation.” (Previous Start Partner completing legacy survey) “We reduced our costs as far as possible and then asked for support for specific items such as coaches. We also negotiated with visiting companies to find those who would support in-school visits and post-shows as part of their contract. We offered free B&B, travel costs and personal drivers to ensure the outreach work happened.” (Previous Start Partner completing legacy survey) “Gained funding from Clore Foundation, other charities and school's own budgets.” (Previous Start Partner completing legacy survey)

Previous partners were also asked to report any changes in their partner schools since funding had been withdrawn – albeit anecdotally. They suggested that: 

 

some schools are no longer able to visit due to the loss of subsidy in ticket prices in addition to transport costs, but those who place a high value on the programme and experience continue to find and allocate budget from core school funds schools have developed a sense of trust in the arts partner and regularly contact them to advise and support on delivering particular aspects of the curriculum independent and return visits from children is occurring – from pupils who are now older and taking Arts Award, through to family engagement.

“There were 2 children who took part in our Start primary school project 2008-11 who are now in secondary school that attended our Arts Award summer school this year. We also have a number of families that attend our family programme 51

since being involved in the Start project.” (Previous Start Partner completing legacy survey) “We increased the cost of the project from £7 per pupils to £10 per pupils after funding was withdrawn which made it difficult for some schools to continue to engage in the project - a few schools dropped out but most realise the benefit of the project and so allocate budgets to support their pupils' involvement. Schools that have been part of the project during and since the Start funding, have developed strong relationships with us and feel confident to call up and ask how we can work together on other areas of the curriculum, and the relationships have been beneficial to both the school and us.” (Previous Start Partner completing legacy survey)

One partner suggests that it is classroom staff who are absolutely key to the project’s continuation (and that these should be nurtured). This suggests a two-pronged attack based on this feedback alongside current partners – of ensuring the head teacher is fully aware of the benefits of the programme, as well as ensuring classroom teachers are able to lobby for its continuation if needed. Interestingly, they also highlighted that they are seeing a return to their venue from lapsed schools due to the changes in the secondary curriculum for English Literature. Despite this being raised by one previous partner only, Children & the Arts may wish to investigate this further, especially given the context of existing partner feedback demonstrated earlier in this report with regards to the challenges around secondary school engagement and the Start model.

“Classroom teachers have kept this project going, not Heads. Where the staff have input into the curriculum the project continues to thrive - even when a school is in special measures. Where head teachers are in panic and staff turnover is high, the project is dropped. But, now that the new criteria for English Literature exams is to include unseen texts, teachers are definitely returning to the idea of trips to arts venues for all their students. (And it is still an Ofsted requirement for becoming an Outstanding school.) It is vital that all theatre education officers coordinating Start stay on top of the English Literature curriculum requirements year by year.” (Previous Start Partner completing legacy survey)

In terms of further support, the majority of previous partners suggested that ongoing PR and evaluation support to advocate the long-term impacts of the programme to funders was an area that Children & the Arts could help provide more assistance with.

“Support with evaluation strategies.” (Previous Start Partner completing legacy survey) 52

“Any support which highlights the benefits of the project nationally will help organisations to demonstrate this to potential funders and add weight to their project.” (Previous Start Partner completing legacy survey) “It would have been nice to say goodbye at the end of year 3, but the most important thing is to collect some practical tips for beleaguered education officers. On-line fora could be a way to feel less isolated. Rarely do education departments have the kind of status needed to establish long-term programmes in a Theatre, so they somewhat mirror the problems for teachers in the schools they are trying to engage with. Often the most enthusiastic officers and teachers are the youngest and the least experienced - so they are unable to effect change within their organisations.” (Previous Start Partner completing legacy survey)

3.7.5 Advice for current Start partners Previous partners were asked for their top three pieces of advice for current Start partners. These typically fell into eleven common areas and are summarised below. Children & the Arts could share these when supporting first year organisations in particular.           

Define your mutual objectives and have a plan Get organised Get the right teacher on-board Listen to teachers and be flexible to keep up with their needs Be savvy when it comes to travel and associated costs Build strong relationships and networks It’s never too early to start thinking about legacy Involve other departments within your organisation – think strategically Use it to advocate a creative approach Celebrate Evaluate.

“Be clear what the internal objectives of running the programme might be, to inform planning.” (Previous Start Partner completing legacy survey) “Set yourself early deadlines and keep checking in with your teachers to make sure they are all on board.” (Previous Start Partner completing legacy survey) “Start is a good model and way of working but add to and amend it each year so that it remains useful to schools.” (Previous Start Partner completing legacy survey)

“Explore local travel initiatives for school groups and look for schools on your doorstep who are not engaged in the arts to minimise the impact of cost for them after subsidy is withdrawn.” (Previous Start Partner completing legacy survey) “Build really trusting relationships with teachers and especially head teachers.” (Previous Start Partner completing legacy survey) “Make sure that teachers involved are able to work in a true partnership with the artists.” (Previous Start Partner completing legacy survey) “Embed legacy planning from the beginning.” (Previous Start Partner completing legacy survey) “Try and find long term funding (3 years) so that you can offer a sustainable model to schools and can really develop those long-term working partnerships.” (Previous Start Partner completing legacy survey) “Listen to what the children have to say about their experience of working with the programme - during the programme not at the end so that you can act on what you have learned.” (Previous Start Partner completing legacy survey)

3.7.6 Legacy 2014/15 During the evaluation of this year’s project, partners in their third and final year were asked a series of questions about the legacy they believe Start is creating, how they intend to embed their learning from the programme, and their aspirations for continuing working with their school partners now that their funding had come to an end. Positively, all partners were confident in, and committed to, continuing to work with their school partners in some way beyond the life of Start; however it was recognised that any sustained participation will depend on the time and financial pressures of schools.

“All schools from the partnership will be invited to our exhibition launches, as well as to our free Teachers Previews four times a year. We will continue to update them on our free exhibitions each year, highlighting the learning opportunities within them and offer them free use of our learning resources and teachers’ notes. Several Start schools have already registered interest in part funding further artist-led workshops and in coming to new exhibitions leading their own workshops. We hope to develop our CPD programme further, building on the knowledge we have gained through Start about the needs of teachers and schools.” (Arts partner on third year of programme)

However, continuation appears particularly likely with those arts partners who have developed strong and successful relationships by truly embedding themselves within the school and school life – whether they support the delivery of the curriculum, offer spaces for teachers to meet, or provide ongoing CPD that really meets their needs. One arts partner also reported that their first year school partner (a special school for children with behavioural difficulties) has since recommended them to other schools – which in turn has created a legacy beyond the programme itself.

“Teachers have indicated they want to continue working with us…. we have a small group of working teachers who we hope will continue to act as an advisory group for our schools’ programming. Given they are already booking other programmes we feel the relationship is as strong as it could be. Local schools are increasingly aware of the number of children in the schools engaging with us out of school time increasing our profile within the school ‘family’. Other local schools are increasingly looking to use the building here as a resource – we are aware through conversations that our Start schools have had with those schools that an awareness of us and the work we do has moved beyond our reputation within the Start framework.” (Arts partner on third year of the programme)

Finally, one interesting example and possible model for Children & the Arts to review, is that of one partner organisation who spent their final year focussing on upskilling teachers and embedding creative delivery – rather than relying on that of an artist. So within their third year, more emphasis was placed on teacher CPD and teacher-led activity within the partner venue, ‘weaning’ the teachers off the dependency of an artist for delivery, and leaving a legacy whereby teachers felt confident to deliver art sessions themselves within a gallery environment.

“As this was the last year we were keen to make changes that would help teachers develop their confidence to work more independently with their students and the gallery. We changed from a model which saw the artists leading all 4 workshops, to 2 teacher-led sessions and 2 artist-led sessions. This proved very successful, with many teachers commenting about how (although this had daunted them at first) they had really grown in confidence and experience by having this development.” (Arts partner on third year of the programme)

3.7.7

Recommendations

Recommendation 1

•Investigate whether the changes to the English Literature curriculum at secondary could provide a route in for those struggling to recruit and/or maintain partnerships with secondary. Indeed, this could be an area of the curriculum for a revised Start model to focus on

Recommendation 2

•Review how Children and the Arts can provide ongoing PR and evaluation support to partners once they have left the programme, e.g. through online fora or regular 'slot' in a Start newsletter. Work with previous Start partners to pool together a list of potential sources of funding for post-project initiatives e.g. Clore, trusts and foundations

Recommendation 3

•Use the legacy themes highlighted by partners within fundraising for the programme and review ways to more robustly track these longitudinal impacts

Recommendation 4

•Share advice from previous partners with those who are beginning their Start journey. Emphasise the importance of planning for exit from the end of the first year rather than at the end of the third year

Recommendation 5

•Consider sharing the legacy model of 'weaning' teachers off artist-led sessions. This is an example of embedding skills within schools which could be applied to performing arts as well as visual arts organisations

Concluding remarks

This evaluation sought to assess whether the Start programme successfully met its objectives for 2014/15. The above findings demonstrate that there is satisfactory evidence to ascertain that all objectives have overall been met, although some partners have struggled to meet the required number of pupils this year as noted within the above commentary. Objective checklist table Objective

Status

To work with engaged and committed partners to deliver arts projects

Achieved

To support projects that are of high quality

Achieved

For participants to gain rich engagement with the arts through at least 2 visits to a cultural venue and a range of supporting activities

Achieved

To work with children who are unlikely to have visited cultural venues in the past For the children to feel comfortable in cultural venues, to develop appreciation/enjoyment of an art form and to become confident and creative

Achieved Achieved

Despite this, the evidence demonstrates that all Start partners 2014/15 were committed and indeed driven by their projects. The number of experiences that organisations offered participants was maintained at the same level as 2013/14 (the smallest number being four and the largest at thirteen) which also reflects their overall engagement and commitment levels in the programme. The quality of the programme was also high this year, with pupils experiencing the very best that local, regional, national and international arts have to offer. However, the challenges with time pressures on schools and the changing curriculum is particularly stark. Indeed, it is interesting that despite achieving engagement with more secondary than primary pupils in 2014/15, partners are having the most difficulties with the secondary market in terms of recruitment and commitment. However, this is reflective of the wider cultural sector21, with organisations having to work increasingly harder to â&#x20AC;&#x2DC;winâ&#x20AC;&#x2122; time in an already busy timetable. Nevertheless, it is extremely positive to note that there has been some distinct and emerging legacy impacts from the Start programme, in both primary and secondary contexts. The importance of developing trust and embedding projects within the school environment cannot be underestimated. It is increasingly more vital for Children & the Arts to support partners who feel less confident in creating and delivering bespoke CPD programmes, so that they have a solid foundation on which to start building stronger relationships with schools.

http://www.artsprofessional.co.uk/news/theatres-report-drop-schools-work

Appendices

5.1

Appendix 1: The Jack Petchey Foundation Start Programme criteria    

The Programme is to be delivered to a minimum of 8 secondary schools. The schools must be within the London/Essex boroughs of Havering and Enfield. The schools must be active on The Jack Petchey Foundation Achievement Award programme. The reach of the programme will be a minimum of 800 pupils, working with 12 staff.

5.2

Participating school statistics

Start Partner Arts Venue

Name of School

Type Of Establishment

Phase Of Education

Compton Verney Compton Verney Compton Verney Jerwood Gallery Jerwood Gallery Jerwood Gallery Jerwood Gallery Jerwood Gallery Jerwood Gallery Jerwood Gallery Jerwood Gallery Jerwood Gallery Jerwood Gallery Jerwood Gallery GLYPT GLYPT GLYPT GLYPT Unicorn Theatre Unicorn Theatre Unicorn Theatre Unicorn Theatre

CAMPION SCHOOL BARR'S HILL SCHOOL/COMMUNITY COLLEGE STRATFORD-UPON-AVON SCHOOL CASTLEDOWN PRIMARY SCHOOL ORE VILLAGE PRIMARY ACADEMY CHURCHWOOD PRIMARY SCHOOL ST MARY STAR RC PRIMARY SCHOOL SACRED HEART STAR RC PRIMARY SCHOOL DUDLEY INFANT SCHOOL THE BAIRD PRIMARY ACADEMY LITTLE RIDGE CP SCHOOL THE HASTINGS ACADEMY HELENSWOOD ACADEMY ALL SAINTS C. E. JUNIOR SCHOOL ST PAULS ACADEMY FOXFIELD PRIMARY ST PETERS RC PRIMARY SCHOOL NIGHTINGALE PRIMARY SCHOOL ESSEX PRIMARY SCHOOL UNICORN PRIMARY SCHOOL BURNT OAK JUNIOR HENWICK PRIMARY SCHOOL

Community School Foundation School Community School Community School Community School Community School Voluntary Aided School Voluntary Aided School Community School Academy Sponsor Led Community School Community School Community School Voluntary Aided School Academy Sponsor Led Community School Voluntary Aided School Community School Community School Community School Community School Community School

Secondary Secondary Secondary Primary Primary Primary Primary Primary Primary Primary Primary Secondary Secondary Primary Secondary Primary Primary Primary Primary Primary Primary Primary

Number Percentage % of pupils whose Of Free first language is Pupils School known or believed to Meals be other than English 602 18.1 3.1 747 29.9 43.3 1387 5.1 4 452 47 7.3 348 42.5 x 225 46.6 x 226 9.3 28.8 224 7.6 5.2 177 9.6 x 381 39.8 x 417 8.6 7.2 812 28.2 1.4 1018 16.8 2.7 228 17.5 2.3 1177 15.5 x 681 27 48.5 208 15.9 7.3 242 22.6 67.1 977 13.4 92.9 404 4.5 7.6 233 3.4 1.3 345 35.8 25.8

Unicorn Theatre Unicorn Theatre Unicorn Theatre

EASTBROOK SECONDARY SCHOOL BARKING ABBEY SCHOOL SAFFRON VALLEY FEDERATION (PRU)

Community School Community School Pupil Referral Unit

Tricycle Theatre Tricycle Theatre Saatchi Gallery Saatchi Gallery Saatchi Gallery

CAPITAL CITY ACADEMY QUEENS PARK COMMUNITY SCHOOL SOUTHGATE SECONDARY SCHOOL ST IGNATIUS COLLEGE EDMONTON COUNTY SCHOOL

Community School Foundation School Community School Voluntary Aided School Community School

Saatchi Gallery Saatchi Gallery Saatchi Gallery Saatchi Gallery Iniva Iniva Iniva Iniva Iniva Impressions Gallery Impressions Gallery Impressions Gallery

Voluntary Aided School Community School Foundation School Community School Voluntary Aided School Foundation School Foundation School Foundation School Foundation School Foundation School Community School Foundation School

Derby Theatre Derby Theatre Derby Theatre

ST ANNE'S CATHOLIC HIGH SCHOOL AYLWARD ACADEMY BROOMFIELD SCHOOL WINCHMORE SCHOOL SACRED HEART OF MARY'S SCHOOL THE ROYAL LIBERTY SCHOOL FOR BOYS HALL MEAD SCHOOL THE CHAFFORD SCHOOL BRITTONS ACADEMY THE SAMUEL LISTER ACADEMY GRANGE TECHNOLOGY COLLEGE BUTTERSHAW BUSINESS AND ENTERPRISE COLLEGE DA VINCI COMMUNITY COLLEGE THE KINGSMEAD SCHOOL THE BEMROSE SCHOOL

Derby Theatre

CITY OF DERBY ACADEMY

Foundation School

Community School Pupil Referral Unit Foundation School

Secondary Primary All Through Secondary Secondary Secondary Secondary All Through Secondary Secondary Secondary Secondary Secondary Secondary Secondary Secondary Secondary Secondary Secondary Secondary Primary Secondary All Through Secondary

892 480 70

30.3 9 51.4 X

31.2 37.6

1175 1275 1508 1069 1692

23.2 18.8 8.6 12.5 24.3

62.5 55.8 25.5 28.4 47.4

1027 1392 828 1547 812 508 960 942 904 712 1831 1499

19.4 35 23.3 19.2 4.4 19.5 6.3 13.2 19.7 31.4 X 30.9 26.2

30 64.3 56.4 44.9 4.8 12.1 2.4 9.4 10.4

549 104 764

29.9 48.1 34.4

7.8 11.9 53.4

775

26.1 X

68.9 7.8

Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary Nottingham Contemporary BALTIC

JUBILEE PRIMARY SCHOOL

Community School

Primary

461

48.5

OAKFIELD SPECIAL SCHOOL

All Through All Through Secondary

156

35.8 X

62.3 X

NOTTINGHAM EMMANUEL SCHOOL

Community Special School Community Special School Voluntary Aided School

CANTRELL PRIMARY SCHOOL

Community School

STANSTEAD PRIMARY SCHOOL

WOODLANDS SPECIAL SCHOOL

30.3

1005

26.2

18.7

Primary

478

26.8

6.5

Community School

Primary

196

22.1

2.3

ST AUGUSTINE PRIMARY SCHOOL

Voluntary Aided School

Primary

362

WALTER HALLS PRIMARY SCHOOLS

Community School

Primary

448

31.9

20.7

BULWELL ST MARY'S

Voluntary Aided School

Primary

344

31.4

3.6

HAYDN PRIMARY SCHOOL

Community School

Primary

485

7.3

15.5

FOREST FIELDS SCHOOL

Community School

Primary

580

20.4

86.4

RISE PARK PRIMARY SCHOOL

Community School

Primary

485

24.1

ST MARYS HYSON GREEN

Voluntary Aided School

Primary

270

16.4

46.1

HIGHBANK PRIMARY SCHOOL

Community School

Primary

270

24.5

3.5

HAWTHORNE PRIMARY SCHOOL

Community School

Primary

222

17.1

3.2

BIRTLEY EAST COMMUNITY PRIMARY

Community School

Primary

232

32.3

5.8

25 X

BALTIC BALTIC mima mima mima mima mima mima mima mima mima Gallery Oldham Gallery Oldham Manchester Museum Manchester Museum Manchester Museum

BLAYDON WEST PRIMARY ST WINIFREDS RCVA ABINGDON PRIMARY SCHOOL ARCHIBALD PRIMARY EASTERSIDE PRIMARY NEWPORT PRIMARY NORTH ORMESBY PRIMARY PALLISTER PARK PRIMARY THORNTREE PRIMARY WHINNEY BANKS PRIMARY VIEWLEY HILL PRIMARY ST THOMAS' PRIMARY, WERNETH HORTON MILL PRIMARY DROYLSDEN ACADEMY THE DERBY HIGH SCHOOL ABRAHAM MOSS HIGH SCHOOL

Community School Voluntary Aided School Community School Foundation School Community School Foundation School Community School Community School Foundation School Community School Community School Voluntary Aided School Community School Community School Community School Community School

Primary 144 28.3 Primary 197 25.9 X Primary 483 38.3 Primary 437 53.5 Primary 295 40.3 Primary 318 54.2 Primary 203 47 Primary 517 44.9 Primary 372 69.3 Primary 463 31.6 Primary 253 51 X Primary 455 29.1 Primary 248 22.3 Secondary 881 29.7 Secondary 838 26.4 All 1542 29.8 Through Festival City Theatres CRAIGROYSTON PRIMARY SCHOOL State Funded Primary 195 56.5 X Festival City Theatres St David's RC Primary School State Funded Primary 260 35.4 X Festival City Theatres PIRNIEHALL PRIMARY SCHOOL State Funded Primary 267 44.5 X Festival City Theatres FORTHVIEW PRIMARY SCHOOL State Funded Primary 365 49.5 X Falkirk Community Trust FALKIRK HIGH SCHOOL State Funded Secondary 1022 22.2 X Falkirk Community Trust DENNY HIGH SCHOOL State Funded Secondary 1293 14.7 X Falkirk Community Trust BO'NESS ACADEMY State Funded Secondary 632 13.7 X NB Table has been populated based on information available, any gaps are due to information not being in the public domain. EAL information is taken from 2012 figures (source: http://www.naldic.org.uk/research-and-information/eal-statistics) and should therefore only be treated as indicative.

2.5 79.4 11.9 3.4 29.2 10.3 1.2 2.7 5.9 91.1 97.2 10.7 43.7 80.1