The Importance of Arts Education within a Social and Economic Context by Frances Bailey

Frances Bailey BA (Hons) Visual Communication 2014/15 The Importance of Arts Education within a Social and Economic Context

Word Count: 9679

Contents Illustration List

Introduction

Chapter 1

The Importance of Arts Education with a View on Social and Economical Impact

The Importance of the Arts in our Education System

The impact of the Arts on our Health and Wellbeing

The Impact of the Arts on Our Economy

Chapter 2

Public Events Addressing the Importance of the Arts in Education and Society

Time to Party?

Or Have a Conversation?

Chapter 3

Planning The Leeds Arts Party: An event showcasing the value of arts education

Background

Aims of the Leeds Arts Party

The Leeds Arts Party Event Schedule & Audience Engagement

Chapter 4 Evaluating the Planning of the Leeds Arts Party

51 51

Conclusion

Bibliography

Appendices

Illustration List Figure 1: The Arts Council England, (2012). Be Creative Be Well. [screenshot] London: Arts Council England 15 Figure 2: Smith, B. (2011). Letter to Michael Gove MP. [online] Available at: http://bit.ly/1BRExL9 [Accessed 8 Jan. 2015]. 19 Figure 3: Dale, M. (2014). Untitled. [photograph] Leeds 25 Figure 4: Dale, M. (2014). Farnell's performance at the Love Arts Conversation. [photograph] Leeds 26 Figure 5: Dale, M. (2014). Gross presenting his research with the assistance of his participants. [photograph] Leeds 27 Figure 6: Bailey, F. (2014). Event floor plan. [photograph] Leeds 37 Figure 7: Bailey, F. (2014). LAP postcard and badge. Leeds 39 Figure 8: Bennett, V. (2014). Initial Leeds Arts Party logo. [screenshot] Leeds 40 Figure 9: Bennett, V. (2014). Final logo design. [screenshot] Leeds 40 Figure 10: Twitter (2014) The Leeds Arts Party [screenshot] Available at: http://twitter.com/leedsartsparty [Accessed 31 Dec. 2014]. 41 Figure 11: Bailey, F. (2014). Pop-‐up Placard Party. [photograph] Leeds 42 Figure 12: Bailey, F. (2014). The Placard Party at the Love Arts Conversation. [photograph] Leeds 43 Figure 13: Bailey, F. (2014). Completed placards at the Love Arts Conversation. [photograph] Leeds 43 Figure 14: Bailey, F. (2014). Love Arts Conversation placard. [photograph] Leeds 44 Figure 15: Bailey, F. (2014). The Leeds Arts Party sign at the Showcase Spectacular. [photograph] Leeds 45 Figure 16: Bailey, F. (2014). Placard from Leeds College of Art student. [photograph] Leeds 46 Figure 17: Bailey, F. (2014). Placard from Leeds College of Art Student. [photograph] Leeds 46 Figure 18: Bailey, F. (2014). Placard from the Love Arts Conversation. [photograph] Leeds 47 Figure 19: Bailey, F. (2014). Untitled. [photograph] Leeds 47 Figure 20: Bailey, F. (2014). Some of the Leeds College of Art placards. [photograph] Leeds 48 Figure 21: Bailey, F. (2014). The LAP Campaign poster. [image] Leeds 49 Figure 22: Twitter (2014). The Leeds Arts Party tweet. [screenshot] http://twitter.com/leedsartsparty [Accessed 31 Dec. 2014]. 53 Figure 23: Twitter (2014). The Leeds Arts Party tweet. [screenshot] http://twitter.com/leedsartsparty [Accessed 31 Dec. 2014]. 53

Introduction Arts Education has been a passionate topic of discussion over the last few years. From the seats of Westminster, the pages of broadsheets like The Guardian, and concerned conversations in the teachers lounge; with the general consensus signifying the subject is under duress in some way. May 2010 saw the election of the Coalition Government, and in turn their education policies. John Steers writes in his essay ‘Art and Design Education at the Crossroads’ that former Secretary of State for Education Michael Gove, announced ‘experimental and ideological initiatives’ (Steers, J. 2013) would be implemented. The words experiment and ideological evoke thoughts of revolution and change; arguably what arts education needs to establish the presence it deserves within the National Curriculum. This research project examines the current climate of arts education and its value within the National Curriculum by investigating the effect arts education has on academic subjects, and the skills this fosters; including problem-‐solving and innovation. The discourse is supported with exploration into how the arts enhance the social and economic factors in society, in aim of presenting how the arts are a significant contribution to a sustainable life and world for us all. The aim of the practice element of this project is to support these finding, create an opportunity for further discussion, and inspire participants to become advocates for arts education.

Chapter 1 The Importance of Arts Education within a Social and Economic Context

The Importance of the Arts in our Education System Art education can be traced back to the early 17th century, with students taught drawing techniques by travelling tutors. These skills would be used to record observations on voyages, or when serving in the military. It is believed that formal training began in the second half of the 18th century with the introduction of academies. The 19th century saw the addition of the examination process; with specialist diplomas credited in drawing and sculpture by the 20th century. In 1974 the first honours and masters degrees were awarded for art subjects, and by 1978 the arts had gathered such reverence that the first PhD in Fine Art was awarded by the Council for National Academic Awards. Stroud Cornock writes how the introduction of formal art education resulted in an increase in artist recognition directly proportional with arts development over the last 150-‐year period. Cornock suggests that

‘Those who believe in the spontaneous eruption of "talent" might view this as no more than coincidental, but it seems reasonable to suggest that Britain's achievements on the international art stage point to the outstanding quality of our higher education in fine art practice.’ (Cornock, S. n.d.)

Unfortunately, over recent years we have seen a sharp decline in the value placed on the arts as part of the National Curriculum. Education reforms and cuts to arts education at all levels, including teacher training have resulted in a bleak outlook for the future for the arts in the UK. In 2012, the Secretary of State for Education Michael Gove, proposed plans to scrap

the current GCSE’s in favour of the English Baccalaureate Certificate (EBacc). The plans focused on the core subjects English, maths, science, languages, history and geography, and criticised in that they would ‘marginalise other disciplines such as the arts and sport.’ (Paton, G. 2013) The planned switch from GCSE to the EBacc caused

uproar across the UK from teachers and education experts, particularly those with an arts expertise. Fortunately, the plans were quickly abandoned in February 2013 and Michael Gove was quoted as describing EBacc as ‘a bridge too far’ (BBC, 2013) and a revision of the current GCSE’s was agreed instead. This turn of events was branded as humiliating for Michael Gove across the media. However, the abandonment of EBacc does in fact demonstrate the Government’s willingness to consider professional and public opinion by reassessing an almost certain alteration to the educational landscape. Subsequently, in April 2014 the hierarchy of GCSE subjects appeared to be off the agenda completely. The chief executive of Arts Council England, Alan Davey reported that

‘arts subjects will join the first round of reformed GCSE subjects to be taught from 2016, Michael Gove has made it very clear that he sees the arts as absolutely on a par with the core subjects’ (Davey, A. 2014)

This came as a small victory to the arts community, and a step closer to a ‘well-‐ rounded education system that values the arts.’ (Davey, A. 2014)

The change in direction of the education reforms in the UK may not be so much as an embarrassment for the Conservative headed Coalition Government, but the journey that led them there certainly was. Consequently in July 2014, Michael Gove was demoted to Chief Whip, in an attempt to ‘neutralise the Tories increasingly toxic relations with the teaching profession.’ (Watt, N. & Wintour, P. 2014) Gove’s successor, Nicky Morgan soon rang in and swung the agenda right back to setting a biased educational hierarchy. Publically criticising arts subjects, Morgan reflected by stating ‘the arts and humanities were what you chose, because they were useful for all kinds of jobs’, but concluded ‘Of course now we know that couldn’t be further from the truth, that the subjects that keep young people’s options open and unlock doors to all sorts of

careers are the Stem subjects’, adding ‘too many young people are making subject choices at the age of 15 that are “holding them back for the rest of their lives’. (TES, 2014) And so the Coalition Government fell out of favour with the arts community once again. The Governments apparent aversion for the arts resulted in The National Society for Education in Art and Design (NSEAD) compiling the ‘Manifesto for Art, Craft and Design Education’, which highlighted the importance of the arts to ‘our cultures, our society, our economy and ourselves’ (NSEAD, 2014) as well as presenting policy proposals. The NSEAD emphasised that the arts not only teach practical skills, but also encourage learners to think imaginatively, make critical judgements, recognise and communicate ideas, as well as develop confidence, competence, and innovation. It is clear that the arts teach much more than applied skills, they develop the whole person. According to Sir Anthony Seldon, Executive Principle of Wellington Academy, the inclusion of arts subjects can enhance the learning of academic subjects. His observations identify that the arts ‘make academic learning more productive and harmonious’ (Seldon, A. 2014 p.52) A particular benefit of arts education is that it enriches academic learning through teaching problem solving skills. Kim Kanatani and Gail Engelberg, Directors of Education for the Solomon R. Guggenheim Foundation find that

‘arts education helps develops the skills necessary to persistently and adaptively work through problems’ and through ‘asking students to think like artists, we are imparting 21st-‐century skills in encouraging them to approach problems with creativity and analytic thought rather than just recitation of facts.’ (The Guggenheim, 2010)

Their study ‘The Art of Problem Solving’ was an initiative that was researched over four years and evaluated how the education program ‘Learning Through Art’ looked at students’ problem solving abilities and their links with creativity. Participants were

given an arts based problem solving task to complete, and afterwards asked to describe their methodology. The results showed that the students who had received ‘Learning Through the Arts’ training gained higher scores in three out of the six skills of problem solving outlined by the report, including:

‘flexibility (the ability to revise or rethink one’s plans when faced with challenges), connection of ends and aims (the ability to reflect on whether one’s final work of art met the intended goals), and resource recognition (the ability to identify additional materials that could be applied to the completion of the project).’ (Guggenheim.org 2010)

In his book ‘Art and Cognition: Integrating the Visual Arts in the Curriculum’ Arthur Efland’s research supports this study with backing from the cognitive flexibility theory. Efland introduces the learning model with the art of drawing as visual problem solving as an example. There is a complex thought process involved in translating a 3D object to a 2D drawing. ‘Visual perception is visual thinking and art making is a kind of visual problem solving’ (Arnheim, R. in Efland, A. 2002 p.43). Efland argues that sensory perception is thinking because it requires the perceiver to ‘select, generalize, and abstract aspects of the objects received by the mind’ (Efland, A. 2002 p.43). Art as problem solving is explored further when Efland presents that for us to capture the word around us by creating works of art, we must consider the limitations of the media in which we use.

‘It is as if each medium sets a puzzle for the artist or the child: how to create an image in the particular terms of the medium which will yet be taken as representing some aspect of reality. The artist is therefore a problem-‐solver.’ (Parsons, M. in Efland, A. 2002 p. 43)

It is evident that the problem-‐solving process of creating works of art is highly complex, and for a successful outcome one requires an extensive level of flexibility within their thought process. High quality works of art are not simply constructed by the end result (the artwork) but by extensive development and experimentation work

as well as, of course, practice; improvements cannot be made without problem solving. The phrase ‘a picture speaks a thousand words’ poses that this cognitive process is not exclusively applicable to the creation art, but also in the viewing. Looking at artwork activates the imagination, and in turn inspires new creative responses. The application of this thought process learned through the creation of art means that we develop our skills in cognitive flexibility, which Efland defines as a thinking mechanism that

‘enables learners to use their knowledge in relevant ways in real world situations [and that] cognitively flexible students take learning to be multidirectional, involving the formation of multiple perspectives.’(Efland, A. 2002 p.82)

To be truly flexible in our thinking and apply this skill to our everyday lives we need ‘a repertoire of strategies from which choices can be made, many of which are learned in the arts’ (Efland, A. 2002 p.160) The cognitive flexibility theory presented by Efland, backed by the research of Kanatani and Engelberg displays the clear benefits of including the arts as core subjects within the National Curriculum. Like the sciences, the arts are a way of understanding the world around us, and this perhaps, is why the two subjects are often thought to interlink. By using the arts as a method of exploring multiple strategies and solutions, combined with subjects like the sciences will equip our future generations with the tools to solve some of the most challenging problems we face in the world today. In fact, without the opportunity to use the arts to understand the world, particularly from a young age, we will be narrowing ‘the cognitive potential of tomorrows adults’ (Efland, A. 2002 p. 2)

If arts encourage cognitive flexibility, then it is logical that they be incorporated into the learning of other subject. Jessica Hoffmann Davis discusses the different methods of teaching the arts in schools in her book ‘Why Schools Need the Arts’ (2008). She identifies these methods as: •

Arts Based

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Arts Integrated

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Arts Infused

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Arts Included

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Arts Expanded

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Arts Professional

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Arts Extra

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Aesthetic Education

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Arts Cultura

(Hoffmann Davis, J. 2008) A particular model of interest is Arts Integrated. The term is defined as:

‘an approach to teaching in which students construct and demonstrate understanding through an art form. Students engage in a creative process which connects an art form and another subject area and meets evolving objectives in both’ (www.kennedy-‐center.org 2010).

Hoffmann Davis praises Arts Integrated in being recognised as ‘a most promising curricular vehicle that honour arts education in the reform and improvements in schools in need.’ (Hoffmann Davis, J. 2008 p.16) There are many benefits of this particular practice based learning model, which include:

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Increased learning engagement

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Increased retention of new knowledge

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Increased understanding of content

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Learners identifying new skills

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Exploration of numerous potential outcomes

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Encouragement of collaboration

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Promotion of risk taking

Furthermore, Arts integration is an effective way of engaging students who may struggle with academic subjects. Nevertheless, despite its benefits few schools simply cannot offer this approach due to lack of funding or support. Mariko Nobori, managing editor of Edutopia argues that

‘by creating a richer, more memorable learning experience through the arts, [schools] unleash not only a rising tide of academic achievement but they lay the foundation for what it means to be a truly creative community.’ (Nobori, M. 2012)

Kelly Hrenko and Andrea Stairs in their essay ‘Creative Literacy: A New Space of Pedagogical Understanding’ also reference cognitive flexibility theory but with a focus on Arts Integration.

‘cognitive science implicates arts processes in the fundamentals of thinking, not just in art, providing theoretical support for the arts integration across the spectrum of subjects’ (Eisner, E. in Hrenko, K.A. & Stairs, A.J. 2014)

It is apparent that adopting an Arts Integration model across a wide range of curriculum subjects could result in students demonstrating a more divergent way of thinking. This questions whether there would still be a need for teaching specific arts subjects in schools, and in actual fact, the National Arts Educators Association do not encourage the use of Arts Integration in fear that it will replace art classes completely as a cost cutting measure. Many art teachers share this fear, and it is believed that the Arts Integration model is unlikely to be successful, because the relevant teaches may not provide the valuable information required. (Riley, S. 2012) For the full potential of art integration and cognitive flexibility to be demonstrated, arts subjects need to be valued and studied in their own right. Only then will students

achieve their full potential for innovative and divergent thinking and develop comprehensive problem solving skills. Global sustainability pressures such as climate change, the food and water crisis, energy production, and waste management are becoming increasingly urgent issues. To combat these challenging matters we need innovation and creative thinking to formulate effective solutions to protect our planet. An effective education model is vital to ensure that we are arming young people with the skills required to formulate these solutions. In their recent publication ‘Create’ The Arts Council state that ‘we are living in changing times and need to equip ourselves for an uncertain journey into the future.’ (Arts Council England, 2014 p.9) We are fighting against an information age, where Google answers most of our questions. Pressingly, the real solutions we need cannot be answered with a single click and ‘feeling lucky’. ‘Through art and culture we have a dialogue with our past and imagine our future. Without art and culture, we can’t evolve’ (Arts Council England, 2014 p.9) Creative education is essential for the development of our future, in ‘showing us how the world may one day be’ (De Botton, A. 2014)

The impact of the Arts on our Health and Wellbeing The sustainability of our planet is a primary concern for the human race collectively, but as individuals our health and mental wellbeing is paramount. Education is purely the springboard for what should be a lifetime of culture not just absorbed, but culture created. ‘If the arts are to play their full part in health, we must make their contribution explicit throughout the human life cycle, from birth and health through adolescence and adult life to decline, death and mourning.’ (Ashton, J. 2014 p.95)

Using arts and culture are a proven method of sustaining positive mental health and wellbeing. Much of what we learn in school forms our early habits and opinions that follow us throughout life. If the value of the arts is celebrated in schools, we will naturally turn to it as a method of nurturing the soul. The Mental Health Foundation present that art therapy: •

Improves self-‐esteem, communication skills and social interaction

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Provides a non-‐threatening medium, enabling participants to address underlying issues that may be more difficult to explore in other ways

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Introduces or reintroduces participants to creative desires

(Mental Health Foundation, 2005) The arts have also been proven to provide relief for illnesses, examples include: •

Rheumatoid arthritis sufferers who listen to 20 minutes of their preferred music daily report a significant reduction in their perception of pain.

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Singing improves quality of life for people with dementia.

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The length of stay on some wards is one day shorter when visual arts and live music are experienced, and need for pain relief is significantly less

•

Visual arts and live music reduces levels of depression by a third in patients undergoing chemotherapy.

(The Arts Council, n.d.)

Figure 1

In their publication ‘Be Creative Be Well, the Arts Council England summarise the impact of the arts on health and wellbeing by using the diagram in figure 1. It shows that ‘actions produce feelings of wellbeing that might also build more lasting ‘mental capital’’ (Arts Council England, 2012). This supports the theory that the arts contribute to sustainable mental health and wellbeing, offers more than just a quick fix. Moreover, ‘through art and culture we are making a long-‐term investment in public wellbeing’ (Ashton, J. 2014 p.94)

The Impact of the Arts on Our Economy The benefits of the arts to health and wellbeing are recognised by former Prime Minister John Major, who agrees that the ‘arts enhance the life and wellbeing of the nation’ (Major, J. 2014 p.32). So much so that in 1994 Major set up the National Lottery, which would become one of the biggest financial resources for supporting the arts. In fact, in the year to 31st March 2014 the National Lottery generated £1751.1 million for Lottery Projects; 20% of this funding was allocated to the arts; equal to that allocated to sports (20%) and heritage (20%), with the remaining 40% allocated to health, education, environment and charitable causes (The National Lottery, 2014). John Major even stated how he ‘took steps to ensure [the funding] would remain free of government interference.’ (Major, J. 2014 p.29) Major acknowledges the impact the arts have on the UK economy, particularly in its role in attracting tourism by ‘encouraging people from other countries to visit us and promote cultural understanding’ (Major, J. 2014 p.29). The quality of the arts in the UK is world class and ‘one of our national strengths. It runs in our blood’ (Major, J. 2014 p.8). In 2011, 10million visitors to the UK engaged in arts and culture, almost half of all tourists. (Arts Council England, 2014) In Wakefield alone, the opening of the Hepworth Gallery boosted the local economy by approximately £10million in its first year, ‘with money being spent in local shops, restaurants, cafés, pubs, other attractions as well as hotels’. (The Hepworth, 2012) Of course it is not simply tourism where the arts enrich the economy, they also have an enormous impact on industry and employment. According to the Government’s Department for Culture, Media & Sport; the ‘creative industries [are] worth £8million an hour to UK economy’ and £71.4 billion to the UK economy each year. Furthermore, the sector grew by almost 10% in 2012, ‘outperforming all other sectors of UK

industry’ and accounting for ‘1.68 million jobs in 2012, 5.6 per cent of UK jobs’ (gov.uk, 2014) With the Government proudly publishing these statistics, and hailing the creative industries as a boost for the UK economy, why is it that the arts continue to be so undervalued in our schools? Maria Miller, the Secretary of State for Culture, Media & Sport boasts that

‘These incredible statistics are confirmation that the Creative Industries consistently punch well above their weight, outperforming all the other main industry sectors, and are a powerhouse within the UK economy.’ (gov.uk, 2014)

Miller promises a commitment to feeding talent into the creative industries, and to continue to drive the economic successes of this sector. Unfortunately, it is apparent that Miller’s fellow parliamentarian, Nicky Morgan underestimates this powerful contribution to GDP, by continuing to devalue the arts in her education policies.

Chapter 2 Public Events Addressing the Importance of the Arts in Education and Society

Time to Party? British artist Patrick Brill, publicly know as Bob and Roberta Smith is a multidisciplinary artist and advocate for arts education, and adopts text as a way of communicating political messages through his work. Smith's work often takes the form of public art projects, and his recent event ‘The Art Party’ (2013) is of particular interest, and followed on from his 2011 work ‘Letter to Michael Gove MP Secretary of State for Education’ (Figure 2).

Figure 2

In this work Smith addresses his concerns over the education reforms, in particular the proposal of the EBacc. The letter, although bursting with passionate sentiments, reads with a hostile tone of voice. Smith expresses his opinions, punctuated with insults directly to Michael Gove throughout the letter:

‘Michael, a look at your tie and shirt combination in images of you online informs me you are not a visually minded person. You do not care how you look. Like many men of your generation you probably disdain the modern media's obsession with 'image'.’ (Figure 1)

Smith follows this with

‘The child who becomes inhibited is inducted into the mediocre majority of the visually illiterate of which you, Michael Gove, (in your ill fitting shirt and unmatched tie) are a part.’ (Figure 1)

Smith tackles some important points in his correspondence, however it would be surprising if Gove were to take any of them seriously. Not because a too challenging an argument is presented, but because the insults are likely to have blinkered any noteworthy opinion. The language exhibits the juvenile politics frequently seen on the seats of Westminster. Perhaps Smith is attempting to beat Gove at his own game, or speak his language. Unfortunately, this tactic falls short of offering a persuasive argument. The insults damage any credibility held by statements weighty enough to sway opinion of the one man powerful enough to influence change at that time. Frustratingly, Smith actually raises valid points within the letter, including:

‘In recent years China has opened 400 schools of art and design. Your Government has whittled Britain's once diverse, varied culture of schools of Art to just 12 institutions. This reduction is a disaster for British design, British commerce, British Art and Britain's ability to compete in the world.’ (Figure 1)

The reputation of Britain in the political arena is high, as is the cultural heritage the nation holds. This single statement is possibly the strongest within the letter, and further evidenced-‐based arguments like this would have enhanced the integrity of the work. In discussion, Smith is much more diplomatic in his delivery, and in an interview with the Institute of Contemporary Arts, Smith states:

‘Michael Gove, quite rightly I think, has thought “I want to make education more robust, more rigorous”, but his way of doing it is to do something completely illogical, is to say certain subjects are substandard, and certain subjects have real standards. The arts have been seen as somehow second rate, and secondary to subjects like maths and English, which is absurd, because creativity and innovation are really important.’ (Smith, B. & R. in Institute of Contemporary Arts London, 2014. 1min20)

So important that on the 23rd of November 2013 Smith presented ‘The Art Party’; a politically neutral conference held in Scarborough designed to celebrate art, and offer a forum for discussion around the future of the arts as a result of cuts to the arts in the education system and the increasing costs faced by students. The day included talks from artists, educators and industry representatives, discussions, film screenings, stalls – including a Gove themed coconut shy, plus entertainment. In Bob and Roberta Smith’s image the conference was fun and playful, whilst still presenting an important message. The decision to hold the conference in East Yorkshire reflects Smith’s desire to establish an honest representation of Britain. Smith declares that

‘The art world is so London-‐centric it’s ridiculous, and it’s important that across the country everybody gets to do their own thing and have their voice. Where I grew up in Yorkshire is a completely, radically different culture from the South East and actually our visual culture doesn’t reflect those things.’ (Smith, B. & R. in Arthur, C. 2014)

In the summer of 2014 Bob and Roberta Smith, with Tim Newman released the film ‘Art Party’, which presents footage from the Scarborough Art Party within a scripted narrative resulting in a ‘well-‐meaning but raggedy mishmash of agitprop, documentary and fantasy’ (Felperin, L. 2014) The film was screened across the UK on 21st August 2014, strategically coinciding with the GCSE results day. In theory this an intelligent activist decision, however the Government’s cabinet reshuffle just over a month previous resulting in the bittersweet departure of Gove as Secretary of State, meant the release felt somewhat too little too late. This resulted in a distorted view of the film upon its release. Many reviews describe how ‘Art Party’ evokes feelings of pity towards the films portrayal of Michael Gove.

‘It’s a shame this wasn’t rushed our sooner’…’[arriving] over a month later makes it feel both dated and strangely mean-‐spirited, almost enough to make one feel sorry for Gove’. (Felperin, L. 2014)

It may be considered this view diminishes the success of the project as whole. The aim of The Art Party (in reference to both the conference and the film as a complete project) was to ‘influence decision makers to listen and to think again’ (artpartyconference.co.uk, 2013). The demotion of Michael Gove to Chief Whip could actually be marked as an achievement for the Smith. A secondary aim of the Art Party may well have been to raise awareness of the current state of the art education system. This has certainly been achieved and this is reflected in the 1200 participants in attendance at the event, the publicity the project received across the media, and the 34 venues that subsequently screened the film across the country on the 21st August 2014. Unfortunately the clarity of the positive message communicated is blurred. What has been reported is a public slamming of Michael Gove, not the case of the arts

community coming together to formulate solutions to the difficulties faced by arts education, and the threats to creativity as a whole. Adrian Searle wrote in the Guardian ‘Gove might welcome actual debate, but I fear he'll see this conference as a sign of cultural degeneracy.’ (Searle, A. 2013) It’s not until the final paragraph of his review that Searle admits ‘however knockabout the day became, no-‐one forgot to ask the question why art might be important’’ (Searle, A. 2013) And here in lies the problem with the Art Party, unless you look a little deeper, the real successes of the day; the profound talks from the likes of Jeremy Deller and Cornelia Parker for example, remain hidden, buried under the famed façade of Patrick Brill.

Or Have a Conversation? The Love Arts Festival is held annually across Leeds, hosted by Leeds and York Partnership NHS Foundation Trust with the Arts and Minds Network, and explores ‘connections between the arts, mental health and wellbeing’ through ‘bringing people together to share creativity, knowledge and resources so the arts can flourish in health and social care settings.’ (loveartsleeds.co.uk, 2014) The aims of the festival are to increase public understanding of how the arts can benefit mental health, and encourage service users to engage with the cultural happenings across Leeds. The festival audience is wide, encapsulating service users, health care professionals, carers, as well as individuals and organisations with an interest in the arts. Although the festival has been running for three years, 2014 saw the addition of their two-‐day conference, the ‘Love Arts Conversation’. Described as a ‘confestival: a festival-‐flavoured conference’ by organiser Linda Boyle, the event, held at numerous locations across Leeds including Northern Ballet, Leeds College of Music, and Leeds City Museum, showcased the true potential of the arts and their impact on positive mental wellbeing. The program included scheduled workshops and conversations with Daily Mail style headlines, such as ‘Prove it Then!’ and Why Spend NHS Money of Art?’ to stimulate opinionated discussion. ‘Out of Character’, a York based theatre company comprising of past and present mental health service users introduced the conversations with short performances, depicting common misconceptions around mental illness, and Government spending on the arts. The sketches had incredible impact, offering an exceedingly creative method of encouraging debate.

Figure 3: Workshop exploring how the NHS should treat mental health in the future

The event was a huge success, chiefly due to the quality discussions taking place, described by one attendee as ‘amazing, and some really innovative moments were displayed during the Conversation today. Will result in great things happening.’ (loveartsleeds.co.uk, 2014) The presentation of two research projects from El Stannage and Jonathan Gross was particularly effective. Stannage presented ‘Art is Good for You: Agency, risk and hope in arts and mental health’, which looked at the difficulty in evidencing why art is good for mental wellbeing. This was not a typically tedious PowerPoint presentation. Punchy and powerful findings were intercepted with creative interludes from research participants who had used the arts to cope with their personal mental health struggles. This included poetry from Kev Paylor, and exceptionally emotional songs from musician Laurie Farnell; whose lyrics held incredible power, telling his story of overcoming living in isolation in a caravan for over 10 years due to his mental illness, and how he overcame this through song-‐writing.

Figure 4: Farnell's performance at the Love Arts Conversation.

Stannage describes her findings in successfully evidencing the effectiveness of the arts as ‘not just about looking at outcomes, but also the process.’ (Stannage, E. in Bailey, F. 2014) She highlights the difficulty of measuring these successes, and how it is primarily this barrier that limits Government funding. In Stannage’s research it is shown that self-‐agency is developed through the arts, promoting the feeling that we have control taking action of our own experiences. The arts are a source of empowerment: “People experiencing mental distress might feel disempowered because of being sectioned, or the way that decisions are made about them” (Stannage, E. in Bailey, F. 2014) It is through the arts that we take control of our lives by responding to the world around us. The impact of the arts in this context is difficult to measure financially and economically, but this does not mean that it is not effective. Jonathan Gross discussed how we could look at box office date/surveys/feedback/focus groups and other tried and tested methods, but asked ‘how do we gain a fuller sense of how arts and culture are important to participants?’ (Gross, J. in Bailey, F. 2014)

Like Stannage, Gross had his research participants at hand to help present his findings. One participant, Milan, described how the arts clarify his confusion in life, and help to reduce the horrible anxiety and despair he faces every day, so that he can ‘flower out; the lotus grows out of stinking mud. All negativity can be transformed into something beautiful, and you can move upwards!’ (Milan in Bailey, F. 2014) Milan concluded that the greatest evidence is ‘Does it heal you? Do you flower? Psychiatry today doesn’t ask that, it dampens my inspirations to be happy. Happiness is the evidence to me’. (Milan in Bailey, F. 2014)

Figure 5: Gross presenting his research with the assistance of his participants.

Similarly to the findings from the Arts Council and the Mental Health Foundation outlined in Chapter 1, Gross summarises the common benefits of the arts to mental health as:

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Confidence

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Belonging/sense of welcome

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Recognition

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Language

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Self knowledge

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Visions of wellbeing/ a good life

•

Everyday life

(Gross, J. in Bailey, F. 2014) Gross also recognised that for these qualities to flourish, the arts need to be delivered in a way that is welcoming and accessible. The conversational structure of the ‘Love Arts Conversation’ combined with the research presented with case studies, music and poetry was a true inspiration in how an event like this can be successful in achieving its aims, and engaging with the audience. Although the ‘Love Arts Conversation’ had a fraction of attendees compared to Bob and Roberta Smiths ‘Art Party’, the ‘Love Arts Festival’ reached 1000’s, and the conference’s message transcended the event and across the city through the festivals workshops, poetry slams, art exhibitions, theatrical performances, open-‐mic events and more. Unlike the ‘Art Party’, the ‘Love Arts Conversation’ was well attended by influential decision-‐makers and commissioners: the people who can, and did, not just listen, but also participate in the debate. There was no podium, forum or motion raising. Just a discussion where all opinions were equal, and all voices were heard. Events like this show that it’s not how many attend, but the quality of content and actions taken thereafter. We should ‘never doubt that a small group of thoughtful, committed citizens can change the world. Indeed it is the only thing that ever has’. (Mead, M. cited by Corbett, S. 2013, p.60)

Chapter 3 Planning The Leeds Arts Party: An event showcasing the value of arts education

Background Inspired by Bob and Roberta Smiths Art Party, I established a small group to plan our own version of the Scarborough conference. The ‘Leeds Arts Party’ is due to take place on Saturday 9th May 2015 at Leeds College of Art, so what is documented in this chapter is the planning and decision making process to date. To complement this research project the practical element includes ‘The Arts Party Guide’, which acts as a manual for others wishing to run similar events in the future. We identified a key strength of Smith’s ‘Art Party’ in that it inspired further action, and others such as ourselves to host similar events. When those who attended the ‘Scarborough Art Party’ (SAP) where questioned about their experience (Appendix 1), what was thought to be the main aim of the event was unanimous, in that all agreed it was to ‘advocate the creative arts to the Government and the general public. To make a stand against cuts to the arts and creative outlets up and down the country and to empower and connect those who agree that the arts should be recognised and supported as equally important.‘ (Appendix 2) When asked if these aims were achieved; 50% answered ‘yes’ and 50% answered ‘I’m not sure’, with nobody answering ‘no’. Those who answered ‘yes’ generally agreed that this was because of the high level of publicity surrounding the event, though the general consensus of those who selected ‘I’m not sure’ was that that the publicity remained largely within the ‘arts world’, and that there was ‘too much focus on attacking Michael Gove’. (Appendix 2) Another survey response highlighted that the SAP may not have been successful, as it only ‘focussed on Fine Art’, and that ‘almost all the people who spoke were middle-‐ aged, white, fine artists’ and ‘didn't represent 'The Arts' in Britain.’ (Appendix 2) Successes of the Scarborough Art Party highlighted in the survey:

•

Well attended

•

Raised awareness, if only for a short amount of time

•

Brought like-‐minded people together 30

•

Instilled enthusiasm in those who attended to fight further

•

Positive discussions

•

The location being outside of London

Improvements were identified as: •

More documentation such as petitions, twitter hash tags directed to MP’s, videos and photographs etc.

•

Not enough decision makers in attendance, i.e. MP’s and teachers who may have more influence

•

Clearer presentation of the aims

•

More student representation

•

Wider variety of speakers to fully represent the impact of arts education

•

Broadening the focus to other arts practices other than visual arts

All participants of the survey concurred that the SAP did not increase their value in Arts Education. Considering the majority of our audience would already hold value for the arts, it has become our aim that the Leeds Arts Party (LAP) would inspire and invigorate these values, and encourage participants to proactively advocate the arts in education. By looking at feedback from the SAP, the foundations have been set to plan a successful event for our LAP.

Aims of the Leeds Arts Party 1. Showcase the true value of the arts, and demonstrate their significant contribution to the education system and society, with a particular interest on sustainability 2. Invigorate and inspire people to take advocate 3. Influence the decision-‐makers to support and invest in the arts and their education 4. Assist others to run their own Arts Parties in the future From survey feedback, it became apparent that communicating aims is important for attendees to understand how they are integral to the success, and enthuse them by demonstrating how our collective voices can lead to change. We will achieve these aims through: 1. Holding a diverse event that is representative of the arts, artists and their role in society and appealing to an extensive audience, not just artists 2. Present meaningful information through guest speakers and discussions, and steer these discussions to formulate innovative solutions to the challenges facing arts education in the UK 3. Invite the decision makers to take-‐part and join in the discussion, not ridicule them 4. Create a comprehensive guide so that other organisations can bring Arts Party to their own city, and help continue our aims. (See attached guide)

The Leeds Arts Party Event Schedule & Audience Engagement To appeal to a wide audience, we have planned a schedule of events that run simultaneously throughout the day that attendees can freely participate in as they choose. 10.30am -‐ Protest March Picket line commences from Millennium Square up to Leeds College of Art. The march will appeal to our activist audience, and those who are actively engaged with arts education campaigns. The aim of the march is to highlight the campaign to passers-‐by, and to voice our message to the people of Leeds who are not attending the event. Placards will display the hash tag #LeedsArtsParty to direct discussion to social media. 10.30am – Doors Open Doors open at Leeds College of Art for those not participating in the march. Refreshments available on arrival. 11.00am – Welcome Talk LAP society members will thank everyone for attending, and summarise the chain of events for the day. At this point the aims will be highlighted, and information on how participants can proactively continue the campaign beyond the event, by pointing out the petition, and craftivism workshop. 11.00am – 4.00pm Arts Marketplace The Arts Marketplace consists of stallholders who have secured their places through submitting a proposal to the LAP society. This is an opportunity for artists and makers to showcase their projects. Priority will be given to artists who satisfy the theme of sustainability within their proposal, e.g. a craftsman who makes instruments out of recycled soda cans. 11.00am – 4.00pm Arts Workshops

Like the Arts Marketplace, the workshops will be organised by a proposal submission method. We have established links with a number of community arts organisations that work with a broad range of audiences. It is largely through these arts workshops where we will capture our diverse target audience. The workshops include organisations such as: Organisation

Description

Audience

Artlink

Artist projects

Diverse communities

Bluestreak

Sustainable avenues for creative Everyone expression

Culture Club

Cultural activities

Over 55’s

CRI Mabgate

Arts workshops

Those recovering from addiction

Ignite Imaginations

Creative writing

Children and adults

Leeds Young Authors

Poetry

Young people

Out of Character

Theatre company

Mental health service users

Outta Place

Digital and performing arts that bring about social change

Young people

Playbods

Dance, sensory play and storytelling

Children

Pyramid of Arts

Collaborative arts group

People with learning and physical disabilities

Skippko

Creative arts projects

Disadvantaged communities

Sponge Tree

Arts workshops following a nature theme

Children and adults

Stitch Up

Traditional craft for a modern world

Young people

These workshops will evidence the benefits of the arts highlighted in Chapter 1. Entertainment 11.30am – 4.00pm A varied mix of entertainment will run throughout the day; from live music, spoken word, poetry and performance arts. This blend will introduce audiences to a range of culture they may not have experienced before. Guest Speakers Our eclectic programme of guest speakers will each attract a different audience and enthuse a new cohort of unknowing activists. Our planned schedule includes: •

12.00pm – Sarah Corbett, founder of the Craftivist Collective; an organisation that uses craft as a method of small activism with big impact. Sarah will be running a workshop for the rest of the day encouraging participants to express how the arts are important to them through hand-‐ stitched protest banners. These will be added to a wall instillation that will grow throughout the day. <craftivist-‐collective.com>

•

1.00pm – Yasmine Ostendorf, Programme Director of Cape Farewell; a not-‐for-‐profit organisation that ‘bring artists, scientists and educators together to collectively address and raise awareness about climate change.’ (capefarewell.com, 2014)

•

2.00pm -‐ Khadijah Ibrahiim, Artistic Director of Leeds Young Authors; who use poetry ‘as an approach to creative education to promote positive social dialogue through the written and spoken word among young people’ (leedsyoungauthors.org.uk, 2014)

•

3.00pm – Susan Coles, president of The NSEAD (The National Society for Education in Art & Design); the ‘leading national authority concerned with art, craft and design across all phases of education in the United Kingdom.’ (nsead.org, 2014)

These guest speakers each come from different backgrounds, and promote creativity in their own unique ways. Whether campaigning for sustainability issues through craft,

communicating scientific research around climate change with arts, building strong foundations for the youth development in challenging communities through poetry, or fighting for a secure future for art and design education; these individuals have our theme of sustainably at the core of what they do, and this will be presented within thought-‐provoking and inspirational talks. Curated Conversations Inspired by the powerful discussions held at the ‘Love Arts Conversation’, it was important that we incorporated discussions as a significant part of the day. Different people will facilitate the conversations to add variety to the day and incite various interpretations to the themes presented. Similarly to the ‘Love Arts Conversation’, we will assign provocative questions to the discussions titles to stimulate zealous debate. The main audience for these discussions will be those from a teaching, arts or political background, however we encourage members of the public of all ages to take part for a broad representation of opinion. The conversations will take place following a creative activity to encourage cognitive flexibility (outlined in chapter 1) and to formulate innovative solutions through creative problem solving.

Figure 6: The LAP floor plan

Funding and Sponsorship For the successful achievement of our aims, it was necessary to obtain funding to cover the costs of promotion and delivery of the event. We have secured £2000 of funding from the Green Exchange; a grant from the National Union of Students’ Green Fund held by Leeds University Students Union. The grant is available for any student in Leeds to apply for to support sustainability projects. The LAP fulfils the criteria by focusing on sustainability as its theme. Additionally, we have obtained sponsorship from Leeds based printing company Awesome Merchandise. The amount of money we have secured so far is not enough to cover all our expenses, particularly with printing and promotion. To reduce these costs it was wise to seek sponsorship, and important that a high quality, local company known for their support of creative industries was chosen. In my proposal to Awesome

Merchandise (appendix 3) I highlighted how much money we had available, what materials we needed, and how sponsorship from them would be valuable. ‘We are looking to Awesome Merchandise as our first choice sponsorship partner. We value the independent nature of your business as well as your Leeds location. We have used you regularly for printed products not just with The Leeds Arts Party, but also with the Leeds College of Arts Students’ Union. Our expectations are constantly exceeded in terms of both service and quality from Awesome Merchandise. The types of clients you work with inspire us; your social media feeds are testament to this, and the excellence of work you produce.’ (Appendix 3) Our successful proposal secured us with the following materials in exchange for promotion. •

Badges x 599

•

Stickers x 1000

•

Roll Banner x1

•

T-‐shirts for volunteers

These materials will really help us to deliver a professional event, with recognisable branding.

Figure 7: LAP Merchandise

Branding I have recruited BA Graphic Design student Beth Taylor as our volunteer Graphic Designer to produce the LAP promotional materials including the event programme, website and flyers. Leeds College of Art graduate Vickie Bennett created our logo. Bennett is known for her hand drawn type, and her style works perfectly with our branding vision. We required something hand drawn, playful but not childish, and avoiding any illustrations to prevent the logo focussing too heavily the visual arts element of the campaign.

Figure 8: Initial Leeds Arts Party logo

Figure 9: Final logo design

We agreed that the logo should take the format of a square so that it worked well across social media platforms such as Facebook and Twitter.

Figure 10: The LAP logo used on Twitter

We created a brand identity to complement the logo, which included colours, fonts and styling. Promotion To allow us to hold the Leeds Arts Party at Leeds College of Art, I was required to submit a proposal (appendix 4) to the Colleges Senior Management Team, which includes the college principle, Simone Wonnacott. The proposition was approved a great deal of support-‐in-‐kind was offered too; including the free use of student ambassadors and backing from key staff members. A great deal of backing has been shown from the Leeds College of Art Marketing Department, who have agreed to promote the event on the college website, listings, and across their networks. Our main method of promotion of the LAP is through our campaign tool ‘The Placard Party’. This pop-‐up style event can take place almost anywhere, and we have thus far

held events at Leeds College of Art, the ‘Love Arts Conversation’, as well as the Leeds Corn Exchange at the art and craft fair ‘The Showcase Spectacular’. The Placard is simple in its design, and requires participants to express the importance of the arts to them on a mini protest placard.

Figure 11: Pop-‐up Placard Party

Figure 12: The Placard Party at the Love Arts Conversation.

Figure 13: Completed placards at the Love Arts Conversation.

Figure 14: Love Arts Conversation placard.

Figure 15: The Leeds Arts Party sign at the Showcase Spectacular.

Figure 16: Placard from Leeds College of Art student.

Figure 17: Placard from Leeds College of Art Student.

Figure 18: Placard from the Love Arts Conversation.

Figure 19:

Figure 20: Some of the Leeds College of Art placards.

The completed placards inspired us to create a campaign poster based on some of our favourite quotes. LAP society member Fran Tredget designed the illustrations, and I compiled the graphic design to complete the poster.

Figure 21: The LAP Campaign poster

We hope to inspire others to take the art party to new locations. To facilitate this I have created a guide, which ‘boxes-‐up’ the event to simplify the planning process and increasing the likelihood of future events. The audience of this publication are students, educational institutions, and anyone else who would be looking to run their own Art Party. The guide also acts as a tool to appeal to prospective funders, to effectively communicate the event, and in their ‘language’.

Chapter 4 Evaluating the Planning of the Leeds Arts Party

The original plan for the practical element of this research project was to design a lesson plan that demonstrates how creativity incites a higher level of problem-‐solving skills. However, my research showed that this concept had been substantiated through more comprehensive studies than I can conduct due to lack of access to resources and participants. The desire was to not prove this theory through repeating the research of others, but to communicate these ideas, and the power of the arts to the public. Much of my practice has previously involved creative activism, so planning an event to showcase the value of arts and its place in education was a more fruitful direction to take my work. This evaluation highlights the successes and improvements than can be made to the planning of the event, which will in effect produce a highly successful Leeds Arts Party in May 2015. Research A great deal of research has been conducted in relation to the planning of the event, much of which not covered in this dissertation. Through attending conferences such as the ‘Love Arts Festival’, as well as ‘Summat New’ (leedsforchange.org.uk, 2014) at Leeds University, and the ‘Great Art Summit’ (artformsleeds.co.uk, 2014) at Leeds Art Gallery, I have gained a detailed understanding on what makes a successful conference, and this experience has fed into the planning of the Leeds Arts Party. Conducting research into the successes and failures of the Scarborough Art Party, enabled me to identify what should be included in the LAP, as well as what could be done differently to the Scarborough Art Party. By using the survey results collected in appendix 2, and bridging this with the successes of the ‘Love Arts Conversation’ I am confident that the LAP will be a triumph, and an advancement of the positive work of

Bob and Roberta Smith. It would have been preferable to collect more data from this survey, as there are only a total of 16 responses. However the quality of answers submitted is high, and generally in agreement with one another. I was also cautious not to step on any toes. Bob and Roberta Smith follows the Leeds Arts Party twitter account, and interacts with the posts. With this in mind it was important that I was neutral with not only the questions presented in the survey, but also how it was presented online. I achieved this by promoting the survey in the following ways:

Figure 22

This single tweet resulted in Susan Coles, president of the NSEAD completing the survey, and sharing it via a retweet; this resulted in even more quality responses. By also asking questions about art education in general, I was able to collect thoughts on the Scarborough Art Party from those who did not attend which has been useful in the planning of attracting this audience to the event.

Figure 23

Evaluation in relation to the aims of the Leeds Arts Party: Aim 1. Showcase the true value of the arts, and demonstrate their significant contribution to the education system and society, with a particular interest on sustainability. By capturing a wide audience through the variety of planned workshops, guest speakers and discussion, we are showcasing the true value of the arts. The quality of discussions expected from the curated conversations, and content from the speakers will certainly demonstrate their significant contribution of the arts to the education system and society. The range of arts presented in the list of organisations I have made links with is diverse, covering visual arts, performance and creative writing. However I will be looking to include more musical contributions. Upon reflection, music appears to be an underrepresented art form at the LAP as the current planning stands. The theme of sustainability is captured in our programme of guest speakers, however more planning needs to happen around how this can continue through into the curated conversations. The sustainability theme is somewhat loose, however I feel this needs to be the case so that the focus of the day remains with the value of the arts in education. The theme of sustainability means that there will not only be consistency throughout the day, but if the event is to be repeated elsewhere, a new theme such as economy could be introduced. Aim 2. Invigorate and inspire people to take action The positive atmosphere of the day and the formulation of solutions through discussion will empower participants to become advocates of creative education. Taking action can range from as minimal as not discouraging children in choosing creative subjects at school, and understanding that the arts can in fact boost their children’s academic potential. The top end of the scale would result participants becoming inspired to run their own Arts Party.

Collecting signatures on our petition to the Government calling to stop cutting funding to the arts will enable most attendees to fulfil this aim easily at an intermediate level. Aim 3. Influence the decision makers to support and invest in the arts and their education. Our positive approach and encouragement in solution formulation will enthuse the MP’s and commissioners invited to the LAP. By choosing not to ridicule politicians, we will engage in influential discussions and present evidence that cannot be overlooked. Our Arts Party will not be the ‘sign of cultural degeneracy.’ (Searle, A. 2013) the Scarborough Art Party was considered. Aim 4. Assist others to run their own Arts Parties in the future. There is no doubt that the LAP will inspire and invigorate people into backing the arts. However this alone is not enough. My comprehensive guide demonstrates that just a few committed individuals can reproduce the event at any scale. The step-‐by-‐step guide breaks everything down from applying to funding, to building a strong brand identity. Tom Bailey from Arts and Minds and director of the Love Arts Festival described the guide as ‘fabulous. Really clear and concise but with enough info there’…’a really impressive document. Well done! Wish you worked for us!’ (Bailey, T. 2014) This is supportive feedback from the organiser of one of the most inspiring conferences I have ever attended. It shows that the right amount of content has been presented and that Bailey recognises that this is a useful document for instigating future events. Bailey continued to suggest how it may have been a good idea to ‘point out how [to] evaluate the event and how [to] prove it's been a success.’ and how ‘funders love outcomes!’ (Bailey, T. 2014), signifying how the guide will be a successful tool for securing funding.

I also emailed the guide to the marketing department at Leeds College of Art, as well as the Leeds College of Music and Chelsea School of Art students union to gauge if the document would be useful in inspiring their students to run a similar event. Unfortunately I did not receive feedback from these organisations. Completing this document earlier may have allowed more time to obtain comprehensive feedback on the guide; nevertheless I am still confident that it is informative, concise and well presented, resulting in an engaging document that will lead to the continuation of our campaign.

Conclusion To persuade the Government to make the changes we ask, we need to speak their language. The evidence is there that the arts and its education are essential, not just for individuals, but the economy too. This should be enough to urge the Government to invest in the arts once again, and ‘not be [seen as] a cost but as an investment in a thriving society and economy.’ (Ashton, J. 2014 p.95) With the imminent 2015 General Election, it seems the political landscape is shifting. The nation is more politically engaged than ever with ‘knowledge of politics now [standing] at 50%, the third-‐highest level recorded’ (Hansard Society, 2014 p.23), however, ‘although the public’s certainty to vote has increased to 49% this is still the third lowest figure recorded’ (p.24) with all three of the lowest scores occurring since the 2010 general election. Many potential voters simply do not have faith in the represented parties and ‘find it hard to believe that they truly care about the issues they are discussing and how it affects ordinary people.’ (Hansard Society, 2014 p.72) With personalities like Russell Brand openly expressing their choice not to vote, the amount of people ‘certain not to vote’ has been estimated as 11% (Hansard Society, 2014 p.3)

Polling statistics published by YouGov.com on 5th January 2015 reported ‘CON 31%, LAB 34%, LDEM 7%, UKIP 14%, GRN 8%’ (Wells, A, 2015). A slight lead from Labour shows that the nations political alignment is changing, with an increase in people looking to vote for smaller parties like the Greens. The Labour party acknowledge in their report ‘Young People and the Arts’ that ‘cultural learning is in decline’ under the Coalition Government, and ensuring that ‘excellent arts are accessible for all children’ in a future Labour Government is central in their policies. (The Labour Party, 2014)

Quality arts education is high on Labour’s agenda. From pre-‐school to post-‐compulsory education, steps will be put in place to allow young people from all backgrounds to pursue the arts into higher education. Labour support the research presented in this dissertation in stating how arts education enriches academic learning resulting in increased ‘attainment across the board’ (The Labour Party, 2014) Their report also backs the findings presented in Chapter 1 further by agreeing that the arts are integral to society, and that they wish to give every child ‘the opportunity to engage in the arts’ to help ‘them express themselves as individuals’, and also recognising the mammoth contribution to the economy. Confirming that ‘creative subjects at school have been devalued and creative vocational skills are threatened’ (The Labour Party, 2014) and how the Coalition Government have reduced the opportunities available to young people. This proves that indeed the arts are an essential subject in our education system in developing a sustainable society and economy. The political future of the UK is still yet to be seen, and events like the Scarborough Art Party, the Love Arts Conversation and the Leeds Art Party are integral to influencing this future. Comfortingly, the value of the arts has been recognised by political parties like Labour – so the future for the arts and its education may not be so bleak after all. Yet sustainability issues remain the root cause for a more troublingly uncertain future, and the findings presented in this dissertation confirms how arts education is essential for nurturing the innovation required to create a more positive future for us all.

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Appendices Appendix 1: Survey on the Scarborough Art Party Conference and the Value of Arts Education

The Art Party Conference & The Value of Arts Education This survey is a questionnaire to gauge opinion based on The Art Party Conference by Bob & Roberta Smith held in Scarborough, November 2013, as well as gaining opinions on Arts Education in general. The results of this survey will be used as research to assist in the planning of The Leeds Arts Party, an event inspired Bob & Roberta Smiths Art Party. The Leeds Arts Party will be held at Leeds College of Art in May 2015. *Required

1. Q1. Did you attend the Art Party Conference in Scarborough in November 2013? * If you selected 'yes', please go to question 2. If you selected 'no' please go to question 10 Mark only one oval. Yes No, but I wanted to. No, I didn't want to go. I did not know about the event. 2. Q2. What do you think the aims of The Art Party Conference were? 3. Q3. Do you think The Art Party Conference achieved these aims? Tick all that apply. Yes No I'm not sure 4. Q4. What are your reasons for the above answer?

5. Q5. What was successful about The Art Party Conference? 6. Q6. What could have been improved at The Art Party Conference? 7. Q7. Did The Art Party Conference change any opinions you held before attending? Mark only one oval. Yes No 8. Q8. In what way did The Art Party Conference change your opinions? 9. Q9. Did The Art Party Conference increase the value you place on Arts Education? 10. Q10. How important do you see the arts to the national curriculum? * Mark only one oval. 1 Not at all important

10 Extremely important

11. Q11. What reasons do you have for giving this answer? * 12. Q12. Do you think the government see the arts as an important part of our education system? Mark only one oval. Yes No 13. Q13. What makes you feel this way? 14. Q14. What is your experience of arts education in the UK? Is it positive or negative? Could it be improved in any way? 15. Q15. If you studied an arts subject at any point, did you feel encouraged to do so by family/friends?

16. Q16. If you did not study an arts subject, is it because you felt discouraged in any way?

Appendix 2: Responses from the Survey in Appendix 1 Q1. Did you attend the Art Party Conference in Scarborough in November 2013? No, but I wanted to. I did not know about the event. Yes No, but I wanted to. No, I didn't want to go. Yes Yes No, but I wanted to. I did not know about the event. Yes Yes I did not know about the event. Yes No, but I wanted to. Q2. What do you think the aims of The Art Party Conference were? To raise awareness and promote the value of the arts and arts education Showcase and highlight damage done to UK art education since the arrival of the 2010 Coalition government. To highlight the impact creative subjects, induct series and careers can have on the economy, culture and communities of the UK as well as showcase those involved. To protest the devaluing of the arts within politics and the financial cuts made to arts education, with particular focus on Michael Gove. To celebrate, discuss and promote relevant ideas. To maintain the Arts as a vital element in British society which has world wide acclaim and always has. Brilliant, positive and for all the right reasons They seemed quite clear on the website -‐ on the website it presented the event as a day to celebrate the importance of arts education and discuss ways in which the arts should be taught at school. At the actual event it seemed more confusing as to what the aims of the event actually was. The general theme seemed to centred around taking the piss of Michael Gove! To raise awareness of the importance of visual arts education in schools in the UK. The advocate the creative arts to the government and the general public. To make a stand against cuts to the arts and creative outlets up and down the country and to empower and connect those who agree that the arts should be recognised and supported as equally important. To talk about Art and its role in people's life and its importance -‐ examining how government and policy makers are ignoring that and creating a manifesto for chan Q3. Do you think The Art Party Conference achieved these aims?

Yes, I'm not sure Yes I'm not sure I'm not sure Yes I'm not sure Yes I'm not sure No Q4. What are your reasons for the above answer? Needs to be promoted further outside the arts world. Publicity and pre publicity showcased these. I would have said yes, and feel they would have but as I did not go, I can not say, "1.) It seemed that almost everyone who attended were artists who already knew the value of the arts so I’m not sure it had much influence on changing opinions. The event could have tried to reach out to a wider audience. 2.) I think there was too much focus on attacking Michael Gove. Someone dressed up as him and re-‐enacted a speech he gave which argued the arts aren't important. It was streamed live on a radio station. A lot of the audience were shouting rude comments about Michael, which didn't put the campaign in a good light. I felt it was wrong, despite Michael's views. 3.) This brings me to my next point: some things (like the rude comments) may have been detrimental to the campaign. Some things only furthered the stereotype that the arts and the people who engage in the arts are sort of wishy-‐washy, unimportant and even don't contribute much to society. Personally, I strongly feel that Leeds Arts Party should avoid promoting arts values such as 'it's good for the soul' or 'art is healing/joy/makes the world interesting' because, despite their truth, I don't think these arguments will change any opinions but may deepen people's negative opinions on the arts. I think the only way to get people to truly understand these particular values of the arts is through direct experience; so live music, dance and art and public participation is important. I also think the rest of the LAP should focus on concrete issues that no one can ignore, the sort of ideas in the David Shrigley animated short film about the arts: https://www.youtube.com/watch?v=T6rYDaORe3k" It brought it home to those of us who love our subject but have been beaten into submission by the system. In education is schools you have to do as you are told! This conference gave me my fight back! I'm not sure because of the fact that the aims of the event weren't presented very clearly. If the aim was to celebrate the importance of arts education I'm not sure if it was very successful as they really only focussed on Fine Art which is a very small sector of the Arts. Almost all the people who spoke were middle-‐aged, white, fine artists which really didn't represent 'The Arts' in Britain. There was also a lack of students and student speakers at the event which would have made the event a lot more successful. Also if it was to be really successful it would have changed people's views on the subject and as the majority of the people who attended

seemed to already be working in the Arts they probably already believe strongly that arts education is important so the whole event was sort of 'preaching to the converted'. If members of the conservative party had turned up then it would have made more of a difference! The event received a fair amount of publicity most of which included reference to the issues related to the cuts in arts education in schools. Although it may have had an impact during the conference, other than some minimal media coverage and the release of the film a year later, the conference seams largely forgotten. Seams to have made no larger impact on the state of the arts. News of further arts cuts and the attitudes of politicians towards the arts and creativity. Q5. What was successful about The Art Party Conference? Raising awareness but only for a short amount of time Bring together like-‐minded people. Cross sector. That the person I knew that went came back enthused and wanted to run their own -‐ following the same aims and objectives. That they did not want to reinvent the event shows that it had a positive effect. The discussions were the focus of the event. They were in the biggest room and it was crammed with people. There were very good speakers. As above I think it was good that they managed to get news coverage for the event as I think it at least meant that the general public were made more aware of the fact that there is an issue with Arts Education today! I also thought it was good that the event was situated somewhere like Scarborough rather than in the middle of London as it stood out a bit more and also it showed that things can happen in the North of England! Also it did spark discussion and if it hadn't been for that event we wouldn't be organising our own art party conference! Attracted a lot of people. Well organised. Entertaining and informative in equal measures. Included a very large numbers of contributors. Very funny and thought provoking final event (the fake Gove speech) It brought a lot of organisations and creatives together. Also highlighted important issues through a more personal platform. Getting everyone together for a big think. Q6. What could have been improved at The Art Party Conference? Invites broadly across business and people not involved in art and design. Younger audience too To create a tangible legacy. Promotion and location. More direct action could have been taken. Petitions could have been available to sign, twitter hashtags could have been made, and also tagged to to MP's. More videos/photos could have been made to document the event and then promoted after the event. a short video with everyone shouting a slogan or something would have been a good idea. etc.

There were a lot of people (a teachers too sadly) who had not got a clue about it. As artists we have no excuse for not being able to publicise better next time. Firstly I think the aims of the event could have been presented a lot more clearly. I think this could have been done by making the whole event more student-‐centred such as having more student work on show from various different colleges and schools. Secondly the speakers at the event could have been a lot more varied to represent the brand range of ways in which arts education really does impact our society! I also think trying to attract an audience that perhaps doesn't feel that arts education is important as these are the people that need to be convinced that it is! Broadening the focus. There was an overwhelming focus on fine art with virtually no inclusion or mention of: graphic design, illustration, fashion, film, TV, computer games industry etc. etc. Many more young speakers, those actually directly involved in art education rather than an array of established creatives and artists. Communicating the outcomes of the Conference for those that didn't attend and a strategy to sustain action and communicate progress to interested parties. Q7. Did The Art Party Conference change any opinions you held before attending? No No No No Yes No No No Q8. In what way did The Art Party Conference change your opinions? I have seen a new found enthusiasm for highlighting / championing the impact creative areas can have. As stated, I got my fight back and my art mojo. So it made me feel like it was worthwhile getting involved and doing something Sorry, didn't go so can't answer 7 or 8 Q9. Did The Art Party Conference increase the value you place on Arts Education? I already hold these values. No, I already hold it in high regard Not exactly, but it highlighted the importance of the issue so I'm more passionate about it now. No because I value it totally already I didn't increase the value I place on Arts Education but it did make me realise how urgent it was to show the value of arts education to people who didn't feel it was particularly important, i.e. the current government! No. I already considered it to be a vitally important part of a broad-‐based education.

No. Only supported. Q10. How important do you see the arts to the national curriculum? 9 4 10 10 3 9 10 9 9 10 8 4 5 10 Q11. What reasons do you have for giving this answer? Creative thinking. Economy. Problem solving. Life skills. Collaboration. Thinking Arts are an important way of expressing our true nature, developing as a person and communicating in a level that transcends convention-‐if taught in a way that allows for self-‐expression and authenticity It's a part of life. I have studied, aspired to be involved with, been employed in and owe a lot of the good things in my life to arts within the national curriculum. I think they're very important as a means of being well rounded and expressive, but not THE most important thing. "Basically, creativity is good for the soul XD. I think we should try to create a world where everyone is happy and nice. Of course, that sounded incredibly wishy-‐ washy and would discredit the arts from a lot of people's perspective, so here's some concrete, mainstream reasons: Basically, everything in The david Shringley video -‐ https://www.youtube.com/watch?v=T6rYDaORe3k art and music therapy have incredible healing power on mental health. People who are paralyzed, have dementia, and surely anything benefit from the arts hugely." From drone children being told what to learn to pass an exam and exactly how to do it, a child walks into an art room and gets a freedom of expression that is immense, they become individuals again and they show their personalities and we discuss the world through our art, and lots of other subjects too. None of them think the subject is easy, they think it's magic. Something interesting to do, you can view things that you see in different ways and explain them in different ways. Also a break from subjects when your at school Art is no only drawing but it teaches kids creative thinking. I think Arts in the national curriculum is extremely important especially in the UK because the arts has been one of the few things left that makes our country unique

and stand out. If we took away arts education in the UK it would become so much less vibrant. I think I feel this so strongly because I lived in Singapore for 3 years. I'm pretty sure the state schools in Singapore have no arts education what so ever or if they do its pretty poor and you can tell because the city is soo lifeless and boring! and its getting more so! It has no identity, it could be any city which I think is incredibly sad. I think there is a definite link between the lack of arts education in Singapore and its lifeless cityscape. If we do the same in the UK I fear this might happen! There area also so many businesses and companies that need creative people to make their businesses work or stand out. Creativity is what keeps any community vibrant and full of life. I believe that education Learning isn't just about reading and writing, we all have a variety of learning styles and ways of expressing ourselves and visually is an important one. Having says that, it goes beyond visual arts, considering the senses and children who have complex needs such as autism, visual impairment, learning disabilities etc. the arts are often the only way they can communicate successfully. That aside, we need to place more importance on arts as entertainment and/or expression and for our own wellbeing. Arts for design and invention. Arts for enjoyment and income. Arts for social history, learning through imagery in museums and galleries -‐ important for progression in society. The arts are incredibly important and should not be undervalued. They should be held equally important because the arts are integral for development and understanding of all other subjects and other key life lessons. All people learn differently and the arts is crucial for ensuring this is possible. It can help young people to achieve better success and understanding across a range of subjects. It can help creativity which leads to innovation in sciences, design...all subjects. There is a huge percentage of students who are talented at it and they need it to achieve their potential. It is therapeutic and relaxing for many, and can often be the only way some young people can communicate or get a sense of achievement or value. Q12. Do you think the government see the arts as an important part of our education system? No No No Yes No No No No No No No No No No

Q13. What makes you feel this way? "Funding cuts. Gove. Morgan. Limited time and facilities." My impression is that arts get big spending cuts in education and 'real' life and the money spent elsewhere (eg army, supporting banks and their directors) See the NSEAD website for the answer to that. Yes but it is not been communicated well and some within the government do not hold the same views. I think that arts education is not often attributed/ recognised as the reason for certain successes in our culture / economy. To me, it would be described as an 'unsung hero' that achieves a lot with little fan fare and contributes far more than would be expected (from the funding and support. I don't know much about it as I don't work in high school education or have kids, but I don't get the impression there's much emphasis on it. the language they use to describe it, their attitude that the arts are a pass-‐time only for an hour or two at the weekend if you have time. financial cuts. a friend and music teacher of mine recently resigning from teaching music because of the falling standards in the college and largely because of his bosses attitude towards the department and a lack of pay. Gove -‐ Morgan-‐ short sighted plonkers That they are constantly saying this, also always pushing for sciences. Higher tuition fees but lack of support/classes They have already made a lot of cuts to the arts in general and they are trying to convince students not to take the arts for GCSEs by trying to set up a different curriculum. This obviously shows that they do not view the arts as an important part of our education system. A general lack of interest shown by the Conservative led coalition. Demonstrated by the appointment and continuous support for Gove as Education Minister, massive cuts to the Arts Council etc. Because they still place too much emphasis on sciences (which are also important), not realising the impact art and design has on all subjects. The arts are constantly side-‐lined and ignored during discussion by the government on education. Many times government officials have spoken against the arts when speaking of important subjects within education. News reports and budget cuts. Q14. What is your experience of arts education in the UK? Positive. Improve t's could be made with funding My arts education was not funded by the government however I feel arts as a subject needs to be taught in a manner which encourages free thinking and self-‐ expression Positive in my dealings with teachers. Negative in attitudes of the DFE.

Positive. Needs more structure at primary ed level and teachers need to be (possibly are but not obvious) encouraged to support students' individual needs and ideas/views. The government and education in the uk need to readdress the view the general public have on arts education and remove the 'slacker' 'pointless' 'low pay' tag that it currently has and has had for a long time. We need to champion people who have gone through the arts ed system and have been successes in relevant terms -‐ something that the general public can see as relative to them. Pay, travel pops, contacts, experience, all may not be well known. In terms of my own, I did art (which was pretty rubbish) until year 9 (?) and that was it. If I hadn't have worked in an art college I would know very little about art at all. It can be utterly fantastic, it can be terrible. More funding for the teachers, more time devoted to it. The formal elements need teaching back in Primary school again, but specialists who can light the fires of enthusiasm. scrap stupid LOPs based on other criteria. Now that NC levels have gone every school is inventing its own measuring stick, it's laughable. Don’t touch GCSE or A Level for at least 5 years! Changes from each institution. Has always been because of my tutor opposed to general art education. Could be improved by having similar support as sciences Overall positive, but could be improved. I think generally I have had quite a positive experience in the arts education so far in the UK. I have always had very good teachers. The only thing I have noticed that the 2nd year of sixth form college (2011/12) is that there has been a cut in artistic resources and facilities. I have experienced this during my foundation course in Farnham which is a very conservative area. We had hardly any access to any facilities or resources. I felt when I went to onto my degree a lot of the other people on the degree had had much more access to facilities. I found that a lot of these people had lived in places with a local government that is Labour. Since being in the 2nd year of my degree I have noticed that there has been cuts in the facilities and resources at my current college in Leeds. Very good school arts departments in comprehensive schools in the 60s and 70s. BA Fine Art at Reading Uni. MA Art as Environment at Manchester Met Uni. Lecturing at Humberside Uni and Leeds College of Art. "I initially studied in the mid 1990's in Birmingham on the visual communication degree there. It was back when we still got grants and tuition fees paid for. However the art education was patchy, there was no structure or 'discipline'. Returning in 2009, I can say that education has progressed and there is more emphasis on beyond the walls of education. My experience as both first time student and mature student are very different of course, through age. But I did find the tutors in Leeds are much more involved and impassioned about the subject (and I don't just mean in photography). Whether this is just a Leeds thing or a general thing I could not answer. I don't think we should be paying £9k for our tuition fees, as this is a huge deterrent for mature students, who's experience I feel is important to have a breadth age and experience..." Positive although the marking system for arts education doesn't reflect the subject entirely.

"Fine art lead GCSEs. Pretty positive but very lacking in diversity, eg we had a kiln but never used it. Never learnt print making or photography or film making, we just drew. I guess the budget allowed for pencils (we brought our own sketch books). Don't think we looked at the work of other artists, other than the week we had to pick a print to copy. At Uni (art school), very concerned about employability, however there is a lack of skill training but plenty of independent learning with kit you can borrow. I think it's a bit rubbish and I won't learn anything until I'm in a job." Q15. If you studied an arts subject at any point, did you feel encouraged to do so by family/friends? Discouraged by parents. Encouraged by siblings. Not effected by friends. No my family didn't understand why I was doing it. My friends were supportive. Yes. Yes and no. Father wanted a busies education, mother was supportive to a point but had been put off arts ed by her own parents in 70s. I didn't voluntarily choose to study art because I'm not talented in that area (or at least not in the prescriptive way it was taught at school), and I imagine if I'd wanted to do art at University my parents wouldn't have been too keen. My friends would have been supportive though. yes. music is a big part of my family's life. You can excel at any subject you want and you can achieve the best in whichever career you want, regardless of the subject. So, just work hard at it and love it and never stop learning. And if it happens to be art that you’re into, well you're the luckiest of everyone. Historical, visual, practical, contemporary, you are surrounded by it! Bloody brilliant! yes Yes Yes I have but I do find that sometimes when I tell certain people that I am doing art degree they don't see it as a 'proper degree'. Yes. Second time around I was encouraged by friends Many of my family and friends told me studying art was a waste of time and a waste of my education. They didn't see it would benefit me in the future. "No. My family are all science and engineering as well as very practical about being able to pay the bills. There was a lot of concern when I was picking my a-‐levels and I felt forced to drop art to do a science subject because of a timetable clash (I got an E in biology in the end!) They found my choice to go to Art School weird and only now are starting to get their head around art not being painting and drawing and thinking that I might be OK as they learn about my job opportunities. Q16. If you did not study an arts subject, is it because you felt discouraged in any way? I was discouraged in high school by the art teacher (who basically said I was crap) and didn't do any art or have any interest in it for about 20years!

N/A Not particularly, I preferred other subjects, which came more naturally to me. In retrospect though I always assumed that to be good at art you had to be able to draw, which isn't the case and I think that it would have been useful for high school art to be more creative and expressive than just drawing portraits of your classmates. N/A Yes, for my a-‐level art, I felt that I would let my family down if I did it and that I would not be able to get a job in the future.

Appendix 3: Sponsorship Proposal to Awesome Merchandise

Dear James, I am writing to tell you about our event The Leeds Arts Party, and enquire as to whether this is something Awesome Merchandise would be interested in sponsoring.

What is the Leeds Arts Party? The Leeds Arts Party will be held at Leeds College of Art on Saturday 9th May 2014. Inspired by Bob and Roberta Smith's 'Art Party Conference' (November 2013) a campaign for Arts Education in response to educational reforms and cuts to arts. Our student led event takes the format of a traditional conference, but with a fun and creative twist. By collaborating with artists, musicians, and community arts organisations we are exploring the theme of sustainability and how the arts are a key element in developing a sustainable future for us all. The arts are a vital subject within the National Curriculum for promoting divergent thinking and developing problem solving skills: critical skills for forming solutions for sustainability issues faced in the modern world. The arts are not only important for global sustainability, but also on a personal level. The arts are a proven method of sustaining positive mental wellbeing, and we believe this should be encouraged throughout education and beyond. The event comprises of: • • • • • • • • •

Guest Speakers Discussion Forums Creative Workshops Exhibitions Arts Market Live Music Spoken Word Performance Art And more!

Our Aims Our aims are to showcase the true value of the arts, and demonstrate the important part they play within our education system. The event will inspire and invigorate participants to take action, and address the reasons why the arts are so significant in our lives and should be celebrated.

Audience We have estimated the event will attract up to 600 attendees including volunteers and artists. Our audience comprises of: • • • • •

Artists Students Educators Politicians The general public including families

Our target for further engagement online is 2000+ We have a strong marketing strategy in place and we are working in partnership with the Leeds College of Art marketing department, who are offering a great deal of support in kind.

Funding We have secured £1,600 from the Green Exchange, a fund held by the University of Leeds, granted to them by the NUS Green Fund as a result of their proposal to back student led sustainability projects. We have allocated this funding to paying for guest speakers, as well as creating a fund to support community artists in delivering successful and inspiring workshops. We are also awaiting confirmation on a proposal to Leeds Inspired for £1000 to cover promotion and marketing costs. Our breakdown is as follows: Expenditure 1000 Programmes (separate order) 10,000 flyers *Billboard Advertisements Event Merchandise Total

Estimated Cost £ 500 115 500 385 1500

*Cost includes posters and distribution As you can see this exceeds the amount of funding we have for this project.

Event Merchandise would ideally include: • • • • •

Badges x 500 Stickers x 1000 Roll Banners x1 A2 Posters x 100 Vinyl Floor Stickers x 2

These items along with the flyers and billboard posters would be purchased from yourselves. This would make the realistic total more like approx. £1700 (£1200 for Awesome Merchandise materials) A desirable item would be t-shirts for volunteers, however the addition of this would blow our budget out of the water.

Sponsorship We are looking to Awesome Merchandise as our first choice sponsorship partner. We value the independent nature of your business as well as your Leeds location. We have used you regularly for printed products not just with The Leeds Arts Party, but also with the Leeds College of Arts Students’ Union. Our expectations are constantly exceeded in terms of both service and quality from Awesome Merchandise. The types of clients you work with also inspire us; your social media feeds are testament to this, and the excellence of work you produce. We would be proud to promote Awesome Merchandise in anyway we can on the lead up to the event. This will be included in all marketing pushed out from Leeds College of Art, who have an extremely strong network and contact base. In exchange, we look forward to hearing what you could offer our event in terms of sponsorship by helping us bring our costs down to a more manageable figure. Thank you again for your time,

Frances Bailey

Project Manager The Leeds Arts Party

Appendix 4: Venue Proposal to Leeds College of Art

Tuesday 4 November 2014 I am writing to propose the Arts Party Event to be held at Leeds College of Art on Saturday 9th May 2015. As you are aware we have briefly discussed the idea of hosting an arts party at LCA earlier this year, and that our previous campaigns officer, Rachel King, initially established this project. We are in the process of applying for the necessary funding required to host this event, and in the mean time we are looking to yourselves to confirm booking the college for The Leeds Arts Party. What is the Leeds Arts Party? Inspired by Bob and Roberta Smith's 'Art Party' (October 2013) a campaign for Arts Education, our student led event will take the format of a traditional conference, but with a fun and creative twist. By collaborating with artists, musicians, community arts organisations, performance artists and more: we will explore the theme of sustainability and how the arts are a key element in developing a sustainable future. The arts are a key subject within the National Curriculum in promoting divergent thinking and developing problem solving skills: critical skills for forming solutions for sustainability issues faced in the modern world. The arts are not only important for global sustainability, but also on a personal level too. The arts are a proven method of sustaining positive mental wellbeing, and we believe this should be encouraged throughout education and beyond. Our event will include guest speakers, discussion forums, workshops as well as exhibitions of work from students, community arts organisations, and artists working around our theme. We will also have entertainment from musicians, spoken word artists, performance artists and more. The aim of the event is to showcase the true value of the arts, and demonstrate the important part it should play within our education system. How the Leeds Arts Party will benefit Leeds College of Art? •

The arts party will present the excellence in LCA student work through exhibitions and workshops.

• • •

It will be an opportunity for students to connect with external arts organisations. The workshops will promote the fantastic facilities we have here at Leeds College of Art. The event is exploring ideas surrounding sustainable creative education, a topic of particular interest to Leeds College of Art.

Time, Projected Numbers & Space requirements • • • •

To be held at the Blenheim Walk site (ground floor space) Saturday 9th May 2015 Event time 11am – 4pm Potentially approx. 600 including volunteers and artists

Space requirements: • G03/04 • Lecture Theatre • The BW cafe • Any available exhibition space • Viscom Studio (already confirmed) • Possibly other ground floor space (TBC) What support may we need We have already received backing from the widening participation department here at LCA, as well as Creative Networks. We need to discuss the possible use of: • Student Ambassadors (help out on the day) • Security & car park • Marketing (promotion of the event) • Buildings (booking of facilities, logistics and h&s) What we need to do next Following your approval of the event we will: • Work with Graham Morley and Andrew Thompson to ensure all necessary Health & Safety requirements are met, and that plans are put into place to minimise impact on college resources. • Host a meeting with yourselves to discuss the event going forward. • Work with the cafe to discuss catering options. Thank you for time and I look forward to hearing from you. Kind Regards, Frances Bailey Students' Union Campaigns Officer