1. Professor Dr Anne Bamford International Research Agency anne@annebamford.com

2. Outline… Creativity? The child The school The world

3. Why? The child

4. Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts

5. Road Map Recommendations Advocacy Government ministries must work together Research Continuity of provisions Partnerships and cooperation Professional formation Evaluation Publication and sharing

6. Seoul Agenda Three Core Goals Arts education as the foundation for the balanced development of all children Assure that arts education activities and programmes are of the highest quality in conception and delivery Apply arts education principles and practices to contribute to resolving the social and cultural challenges facing today’s world

7. Brain activation Highly creative individuals had significantly higher activation in both the left and right cerebral hemispheres, specifically in the areas associated with fluency, originality and flexibility Higher activation in these areas is related to the vivid experience of insight, emotions and perceptions present in highly creative individuals. These combined with higher symbolic abilities possessed mainly in the activated frontal lobes might enable highly creative individual to translate their experiences into creative works. Rosa Aurora Chavez-Eakle 2009

9. Better brains... Process visual information more quickly (visual experts) Have better fine motor skills Are more likely to learn by trial and error Don’t start at the beginning Multi task Are quicker at scanning, navigating and analysing More creative (learning by experiment, role play, creation) More intelligent (distributed cognition, immersion)

10. Dance is the art form that communicates through the body. Roland Barthes, “My body is a thought”

11. Why? The school

12. 92.7

13. There seemed to be between 17-28% (averaged at around 22%) negative impacts of poor quality programmes. Put crudely, this meant that in a global sense about ¼ of all the arts and cultural education a child receives is likely to have a negative impact Negative impact

14. Some thoughts Education in the arts (music, visual arts, lesser drama, lesser dance, little media) Education through the arts (visual literacy, drama, new technology) Art as education (as a medium or environment for learning) Education as art (a cultural and aesthetic understanding of education)

15. SO WHAT WORKS…

16. 1. Active partnership and collaboration

17. 2. Flexible organizational structures

18. 3. Accessibility to all

19. 4. Ongoing professional development

20. 5. Reflection and evaluation strategies

21. 6. Local

22. 7. Project-based, research-based

23. 8. Active creation, performance and exhibition

24. 9. The languages of the arts

25. 10. Take risks

26. Arts rich schools More emphasis on problem solving than rules in Maths More likely to teach in smaller groups More likely to read literature More likely to get pupils to write Happier students Happier teacher Less likely to lecture to pupils Less serious behaviour problems Less lateness and absenteeism

27. Portrait of an arts-rich 20 year old Catterall 2009 USA More likely to enrol in college/higher education (> 17.6%) More likely to volunteer (15.4%) More likely to have strong friendships (8.6%) More likely to vote (20%) 10% less likely to not be in either employment or education at aged 20.

28. Portrait of an arts-rich 26 year old Catterall 2009 USA, Continue to do better than people who attended non-arts-rich schools. Found better jobs (Arts poor students were 5 times as likely to report dependence on public assistance at age 26.)

29. Education out of step… Increased effort has to be made to establish synergies between knowledge, skills and creativity. With few exceptions educational politics gets no further than paying lip service to these ideas.

30. The problem has got worse In 2006 the EU average school dropout rate was 27%. It is now 34% (2011) In all EU countries, except Austria, boys are more than 12% more likely to dropout than girls. The nature of school dropouts is changing. In 2006, it was mainly children from lower socio economic groups with parents without a higher degree and mainly within the southern EU nations. The trend is reversing with increasing numbers of pupils dropping out from more affluent backgrounds, high achieving pupils and pupils with educated parents. The greatest growth in dropout rates have occurred in the Nordic countries.

31. C I F L G Z

33. Development Categories: Creativity - Innovation Communication Skills Attitude Values Practical Skills Comprehension/knowledge Pedagogical Procedures

35. Teachers Results Screen A wide range of visual comparisons can be used. For Example: benchmark teachers averages identify weak performance in a category (eg Communication) identify best performers in creativity - innovation view boys against girls performance Pedagogical Procedures

38. In Malta The National Curriculum Conference (2000) identified a series of national and international measures which had negatively impacted upon creativity. E.g. a rigid timetable, formal class-management protocol, syllabus overload, discouragement of students from taking ownership of learning, emphasis on competition and external rewards and teachers' own limitations in the creative sector In 2002, the Education Division introduced the post of "creativity teachers" with the aim of accelerating artistic development in schools. There are currently around 150 ‘creativity teachers’ in schools in Malta.

40. Creative PISA? Sub-category within PISA (i.e. more creative questions) “The development of an instrument to test creativity in all European Member States could be considered” “This feasibility study provides the green light to start the process of developing a tool to measure creativity (internationally). “Such a project would require an important amount of investment and political will.” Ernesto Villalba 2008

41. Why: Global reasons

42. Cultural capital Studies have shown that a lack of familiarity with particular forms of culture and a lack of sophisticated cultural vocabulary can limit people’s confidence in certain social settings and deny them access to opportunities that might contribute to upward social mobility.

43. The National Endowment for Science (UK), Technology and the Arts suggests that between 2009 and 2013 the UK creative industries, which are responsible for films, music, fashion, TV and video games production, will outstrip the rest of the economy in terms of growth by 4% on average. By 2013, the sector is expected to employ 1.3 million people. Employment growth

44. Employability Surveys show that soft skills such as adaptability were more valuable to employers than education or qualifications NESTA have received evidence that suggests the soft skills employers are looking for are (in order of stated importance): Communication skills Team working skills Confidence The ‘Russell Group of Universities’ (UK) state that universities and employers are using such extra-curricular activities to differentiate between candidates for places and jobs.

45. World Economic Forum, Davos 2006 The arts will be a major force in economic development. The so- called creative industries are emerging as the largest single sector of economic activity in many countries and as the driving force of the ‘tiger’ economies of India, China and Korea.

46. European Year of Creativity 2009 The Communication of March 2008 (European Commission, 2008a, 2) puts it simply: ‘Europe needs to boost its capacity for creativity and innovation for both social and economic reasons.’

47. Little and big c Everyday or ‘little c’ creativity. The type of creativity that makes people adapt to the constantly changing environment, reformulate problems, and take risks to try new approaches to problems. ‘Big C’ creativity, ‘the kind that changes some aspects of the culture, is never only in the mind of a person’.

50. Innovation Innovation is defined by the Oslo manual as: ‘The implementation of a new significantly improved product (good or service), or process, a new marketing method, or a new organisational method in business practices, workplace organisation or external relations’ (OECD and Eurostat 2005, 146).

53. Education for innovation: OECD Pedagogies and curricula that try to foster simultaneously three categories of individual skills for innovation: 1.Subject-based skills (know-what and know-how), 2.Skills in thinking and creativity (critical thinking, imagination, etc.), and 3.Behavioural and social skills (curiosity, communication, etc.).

54. Pillars of Innovation The European Innovation Scoreboard (EIS) based on 29 indicators of innovation Human capital Openness and diversity Cultural environment Technology Institutional and regulatory environment Creative outputs

55. Human Capital Hours on arts and cultural education in schools Number of arts schools per million people Tertiary students studying in the field of culture Cultural employment as a % of overall employment

57. Ranking Innovation Scoreboard 2008 (EU15 Countries) 1.Sweden 2.Finland 3.Denmark 4.Germany 5.Netherlands 6.France 7.Austria 8.Uk 9.Belgium 10.Luxemburg 11.(EU average) Active artistic participation (Eurobarometer 2007) 1. Sweden 2. Luxemburg 3. Finland 4. France 5. Denmark 6. Netherlands 7. Belgium 8. Germany 9. UK 10. Austria 11. (EU average)

58. Welfare Cultural participation is only second to absence of serious illness in predicting psychological well being and more important than income, place of residence, age, gender or occupation.

59. Sustainability Cultural participation increases social mobilization and awareness of social consequences of individual action

60. Crime prevention Cultural projects produce strong and significant effects in cases of juvenile crime prevention.

61. Entrepreneurship The cultural and creative field is the most powerful incubator of new forms of entrepreneurship and makes a major contribution in Europe’s competitiveness.

62. Local identity Cultural facilities substantially increase the global visibility of a place and improve urban and regional milieu

63. Soft power Increase the visibility, reputation and authoritiveness of a country at all levels of international relationships.

64. Quality? Or…

65. The necessity of taking culture more seriously and to fully exploit its strategic potential