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ResDance Series 10: Episode 1: From HEAD to TOE: The creative moving body in primary education with Sarah Hall from Blue Moose Dance (TDF 25-27) (March 26)

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ResDance Series 10: Episode 1: From HEAD to TOE: The creative moving body in primary education with Sarah Hall from Blue Moose Dance (TDF 25-27) (March 26)

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In this episode, Sarah shares insights from her work as an artist-researcher and facilitator in community and educational settings. Centered on her expertise in creative practice through embodied knowledge, our conversation explores the aims of From HEAD to TOE, a project funded by the Paul Hamlyn Foundation’s Teacher Development Fund. We discuss how Sarah’s work emphasises empowerment, inclusion, and finding voice, highlighting approaches used within the project, methods of engagement and ways of movingtogether to enjoy learning, embody knowledge, and support individual wellbeing. Sarah reflects on her experiences so far, emphasising the importance of placing care at the heart of practice and the value of a co-creative approach in drivingmeaningful change.

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ResDance Series 10: Episode 1: From HEAD to TOE: The creative moving body in primary education with Sarah Hall

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[Blog] Impact Magazine (Chartered College of Teaching) Summer 26

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[Blog] Impact Magazine (Chartered College of Teaching) Summer 26

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CHARLOTTE BRAY, PRIMARY ITE, UNIVERSITY OF DERBY, UK

CAROLINE BARTH, DERBY THEATRE, UNIVERSITY OF DERBY, UK

This case study celebrates and articulates the transformative collaboration between six primary schools from an East Midlands trust and local theatre. The two-year project was externally funded by the Paul Hamlyn Foundation’s Teacher Development Fund, with the aim of exploring how drama pedagogy can add value for both pupils and schools in achieving aspirations.

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‘Speak Out!’ - Improving oracy across the curriculum using drama pedagogy: A case study from six primary schools : My College

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CHARLOTTE BRAY, PRIMARY ITE, UNIVERSITY OF DERBY, UK CAROLINE BARTH, DERBY THEATRE, UNIVERSITY OF DERBY, UK This case study celebrates and articulates the transformative collaboration between six primary schools from an East Midlands trust and local theatre. The two-year project was externally funded by the Paul Hamlyn Foundation’s Teacher Development Fund, with the aim of exploring how […]

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Teacher Development Fund Newsletter | Is it the moment for Creative Arts Education? | Summer 2026

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[Newsletter] Spring 26 - evaluation focus

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[Newsletter] Spring 26 - evaluation focus

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TDF from the perspective of artists and arts organisations (Spring 25)

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TDF from the perspective of artists and arts organisations (Spring 25)

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Teacher Development Fund | From the perspective of artists and arts organisations

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This film explores the Teacher Development Fund from the perspective of artists and arts organisations and shows what the programme looks like in action.

The film highlights how the fund helps to create more equitable classrooms, support teachers’ professional learning and build effective partnerships between schools and arts organisations.

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Post TDF - this webinar follows the development of TDF approaches across 9 Doncaster schools ( a further 3000 children across 3 years) and is presented by Dr Lisa Stephens with Namrata Patel and CEO Beryce Nixon for Chartered College Rethinking Curriculum- Igniting Creativity: activating children’s social-emotional learning, oracy and conflict resolution through collaborative storymaking

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Rethinking Curriculum- Igniting Creativity: activating children’s social-emotional learning, oracy and conflict resolution through collaborative storymaking. : My College

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Are you interested in developing your primary curriculum with a creative pedagogies lens? We are delighted to bring the wonderful work of Dr Lisa Stephenson (Story Makers), Exceed Learning Partnership and Bowling Park Primary to you as part of our Rethinking Curriculum series. This presentation will share 5 years of research and creative practice across […]

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2025 Moving Stories: LEAN/Peoplescape & Laban. Rd 6

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2025 Moving Stories: LEAN/Peoplescape & Laban. Rd 6

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2025 MAKE with the Knit Shop (Long vs) Rd 6

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2025 MAKE with the Knit Shop (Long vs) Rd 6

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MAKE with the Knit Shop embedded craft approaches in schools across Dundee through a two-year teacher development programme.

The project explored the value and potential of teaching craft across the curriculum and equipped teachers with the skills, knowledge, confidence and experience, to provide quality education and impactful learning through the arts.

Working with six primary schools in Dundee (Ancrum Road, Claypotts Castle, Fintry, Rosebank, St Mary’s and Downfield) and three textile makers, Kim Norrie, Jolene Guthrie and Kate Scarlet Harvey, the project introduced teachers and pupils to new craft-based approaches that supported numeracy skills development in the classroom. 

MAKE with the Knit Shop is a partnership between MAKE, Knit Shop and Dundee Creative Learning Network, led by Craft Scotland and Panel. It is funded by Paul Hamlyn Foundation’s Teacher Development Fund, with additional support from Creative Scotland as part of their targeted funding to strengthen the craft sector in Scotland.

Film by Martin Clark, 2025.

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Colleagues from the 'Teaching for Creativity' project in the High Peaks (Derbyshire) share their new film exploring the impact of TDF on teachers, artists, pupils and senior leaders.

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Find out more about Polka Theatre's TDF, Talking Tales (6' film)

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2025 darts/Creative Learning - Inspiring Leaders, Creative Learners - Rd 6

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2025 darts/Creative Learning - Inspiring Leaders, Creative Learners - Rd 6

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Creative Learning - Inspiring Leaders, Creative Learners

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2024 Moving Stories (Lansbury Lawrence/Akram Khan Company) Rd 5

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2024 Moving Stories (Lansbury Lawrence/Akram Khan Company) Rd 5

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Akram Khan Company - One of the most original and celebrated choreographers of international dance. Acclaimed for his dance language rooted in the ancient Indian dance – Kathak.

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We are very excited to be curating a new programme for schools in Tower Hamlets, London…

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Cleveland Road Primary School / Cohort 2024 - end of Year 1 film

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'Who are we?' An exploration of identity and oracy through Spoken Word Poetry

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Haringey Community Press (8 October 2022)

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Haringey Community Press (8 October 2022)

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Voices for the Future /
Teacher Development Fund Round 5 (exploring how creative and anti-racist practices can counter
inequity in the primary classroom?)

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Alexandra Primary School, a school I was head of for almost seven years, has co-founded a groundbreaking two-year project called 'Voices for the Future', funded by the Paul Hamlyn Foundation Teacher Development Fund. The project, supported by a grant of £144,882, aims to improve the speaking and listening skills of pupils using creative and anti-racist practices. Crucially, the project will focus on the development of teacher's skills to better support children's learning. Alexandra Primary School, a school I was head of for almost seven years, has co-founded a groundbreaking two-year project called 'Voices for the Future', funded by the Paul Hamlyn Foundation Teacher Development Fund. The project, supported by a grant of £144,882, aims to improve the speaking and listening skills of pupils using creative and anti-racist practices. Crucially, the project will focus on the development of teacher's skills to better support children's learning.

Embedding anti-racist practice across our schools works directly to counter inequity in the classroom. Enabling this to happen in creative, supported ways will help build resilience, broaden horizons and raise voices. Embedding anti-racist practice across our schools works directly to counter inequity in the classroom. Enabling this to happen in creative, supported ways will help build resilience, broaden horizons and raise voices.

In Haringey, we have huge disparities in achievement between white British pupils and particularly those of Black Caribbean, Turkish and Kurdish heritage. According to the 'State of the Borough' report from 2019, only 52% of Black boys attained grades 9- 4 in English and maths, and children from Black Caribbean backgrounds achieved on average two grades lower than white British children. Children from Turkish backgrounds attained 1.5 grades lower. Successive lockdowns have only increased such disparities. In my school, we saw how children's development of language and speech skills had been impaired. In Haringey, we have huge disparities in achievement between white British pupils and particularly those of Black Caribbean, Turkish and Kurdish heritage. According to the 'State of the Borough' report from 2019, only 52% of Black boys attained grades 9- 4 in English and maths, and children from Black Caribbean backgrounds achieved on average two grades lower than white British children. Children from Turkish backgrounds attained 1.5 grades lower. Successive lockdowns have only increased such disparities. In my school, we saw how children's development of language and speech skills had been impaired.

Voices for the Future is a collaboration between Collage Arts, Haringey Creates, and six Haringey primary schools (Alexandra Primary School, Lancasterian Primary School, The Willow Primary School, Earlsmead Primary School, West Green Primary School and Rokesly Junior School). It will explore the ways in which an anti-racist led, arts-based approach to learning can help address this gap. Voices for the Future is a collaboration between Collage Arts, Haringey Creates, and six Haringey primary schools (Alexandra Primary School, Lancasterian Primary School, The Willow Primary School, Earlsmead Primary School, West Green Primary School and Rokesly Junior School). It will explore the ways in which an anti-racist led, arts-based approach to learning can help address this gap.

Anti-racism is a term that has been in school equalities policies for a number of years. By the nature of the borough's culturally diverse make-up, all of our schools have diverse communities and I think it's true to say that none of us have ignored racism as an issue. Anti-racism is a term that has been in school equalities policies for a number of years. By the nature of the borough's culturally diverse make-up, all of our schools have diverse communities and I think it's true to say that none of us have ignored racism as an issue.

However, the events of summer 2020, including the murder of George Floyd, brought it to the forefront of all of our minds. However, the events of summer 2020, including the murder of George Floyd, brought it to the forefront of all of our minds.

In 2020/21 schools were audited around the whole race agenda. Hackney's Diverse Curriculum (a nine-week lesson plan aimed at diversifying curriculums) has been a reference point, and The Black Curriculum has put challenging accepted norms of the education system at the forefront of the public's minds. But what does this mean for schools in Haringey? In 2020/21 schools were audited around the whole race agenda. Hackney's Diverse Curriculum (a nine-week lesson plan aimed at diversifying curriculums) has been a reference point, and The Black Curriculum has put challenging accepted norms of the education system at the forefront of the public's minds. But what does this mean for schools in Haringey?

I believe it is about having an inclusive, supportive curriculum that challenges intolerance and racism. It is about actively identifying and opposing racism while providing the space to challenge how we normalise racism everyday. It is imperative that we do this through our teaching and learning to achieve real and meaningful inclusion. Can working in a creative and arts-based way help us to do this? I believe it is about having an inclusive, supportive curriculum that challenges intolerance and racism. It is about actively identifying and opposing racism while providing the space to challenge how we normalise racism everyday. It is imperative that we do this through our teaching and learning to achieve real and meaningful inclusion. Can working in a creative and arts-based way help us to do this?

Voices for the Future aims to support Haringey schools to test this out, working with intersectional artists from Collage Arts to support our students and teachers. Creatives from the world of theatre, music and visual arts will work with teachers and students in a collaborative way, drawing on techniques that stem from a range of cultural backgrounds. Together, they might write a play that draws on Caribbean storytelling techniques, or create sculptures inspired by African, Turkish or South Asian music. The crucial point is that the approach and knowledge would continue to grow in the school beyond a one-time project. Voices for the Future aims to support Haringey schools to test this out, working with intersectional artists from Collage Arts to support our students and teachers. Creatives from the world of theatre, music and visual arts will work with teachers and students in a collaborative way, drawing on techniques that stem from a range of cultural backgrounds. Together, they might write a play that draws on Caribbean storytelling techniques, or create sculptures inspired by African, Turkish or South Asian music. The crucial point is that the approach and knowledge would continue to grow in the school beyond a one-time project.

As we see the uptake of arts-based subjects for GCSE and A-Level go down, and the government suggesting that creative professionals retrain in tech, it is vital we ensure the arts do not go forgotten. As we see the uptake of arts-based subjects for GCSE and A-Level go down, and the government suggesting that creative professionals retrain in tech, it is vital we ensure the arts do not go forgotten.

We hope this project is going to give teachers the skills and confidence to deliver inclusive arts-based learning across the curriculum. We will be sharing our learning beyond the six schools we work with, creating resources and toolkits for our community of schools in Haringey and beyond. I can't wait to see where this project leads. We hope this project is going to give teachers the skills and confidence to deliver inclusive arts-based learning across the curriculum. We will be sharing our learning beyond the six schools we work with, creating resources and toolkits for our community of schools in Haringey and beyond. I can't wait to see where this project leads.

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Embedding anti-racist practice will help close the learning gap | Haringey Community Press

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Alexandra Primary School, a school I was head of for almost seven years, has co-founded a groundbreaking two-year project called 'Voices for the Future', funded by the Paul Hamlyn Foundation Teacher Development Fund. The project, supported by a grant of £144,882, aims to improve the speaking and listening skills of pupils using creative and anti-racist practices.

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CST is a research project exploring creative approaches to speech, language and communication needs (SLCN) using drama and storytelling techniques to develop a universal approach to language learning in primaries and providing teachers with new creative pedagogies.

Trestle were delighted to be awarded Paul Hamlyn Foundation funding from the 5th round of The Teacher Development Fund, which aims to enable teachers and school leaders to develop their skills, knowledge and experience to embed learning through the arts in the primary curriculum.

This documentary was created over the two-year project and made by VIDEOfeet.com

Credits: VIDEOfeet and Trestle Theatre

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Create, Speak, Thrive: Bringing Words To Life - Documentary

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CST is a research project exploring creative approaches to speech, language and communication needs (SLCN) using drama and storytelling techniques to develop a universal approach to language learning in primaries and providing teachers with new creative pedagogies.

Trestle were delighted to be awarded Paul Hamlyn Foundation funding from the 5th round of The Teacher Development Fund, which aims to enable teachers and school leaders to develop their skills, knowledge and experience to embed learning through the arts in the primary curriculum. 

This documentary was created over the two-year project and made by VIDEOfeet.com

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Short film to introduce their programme to all involved.

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Chapter & Verse Project
Over the past two years, Grimm & Co and Astrea Academy Trust have worked across 8 primary schools, with 14 teachers and 398 year 4 pupils. This short film provides insight into the process, showing how teachers and pupils are supported to explore their creative courage in the classroom.

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Travelling Light is an award winning children's theatre company that creates outstanding theatre for and with young people that inspires their thinking, engages their emotions and fires their imaginations. This short film shows the powerful impact that their TDF is having on teachers, pupils and artists.

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Dance at Lansbury Lawrence: A Case Study : Chartered College (Dec 25)

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Dance at Lansbury Lawrence: A Case Study : Chartered College (Dec 25)

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Dance at Lansbury Lawrence: A Case Study : My College

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This article has been published as part of the Rethinking Curriculum project, kindly funded by The Helen Hamlyn Trust. Kerri Sellens, Assistant Head, Lansbury Lawrence Primary School Introduction Lansbury Lawrence Primary School is situated in Poplar, in the east London borough of Tower Hamlets; a community that faces significant socio-economic challenges. […]

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Teacher Development Fund Newsletter | Curiosity, honesty and joy | Summer 2025

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Teacher Development Fund Newsletter | Hope and a call to action | Edition 14 - Autumn 2024

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Teacher Development Fund Newsletter | Reflecting on the Teacher Development Fund | Edition 13 - Summer 2024

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[Newsletter] Spring 24 - TDF and Evaluation

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[Newsletter] Spring 24 - TDF and Evaluation

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Teacher Development Fund Newsletter | Digging deep - TDF and evaluation | Edition 12 - Spring 2024

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Teacher Development Fund Newsletter | How can school leaders support arts-based learning? | Edition 11 - Autumn 2023

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Round 4/StoryMakers - Dr Lisa Stephenson (Leeds Beckett University)

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Round 4/StoryMakers - Dr Lisa Stephenson (Leeds Beckett University)

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Research with a summary impact -

pp.1-42. https://l1research.org/article/view/943

Stephenson, L. and Patel, N., 2025. Activating (oracy) embodied-dialogic and cultural literacies through drama     worldbuilding pedagogy across the primary curriculum. L1-Educational Studies in Language and Literature, 25(1),

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View of Activating (oracy) embodied-dialogic and cultural literacies through drama worldbuilding pedagogy across the primary curriculum

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Teacher Development Fund Newsletter | Blended CPDL: Going beyond the Covid years | Edition 10 - Summer 2023

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Anti-racist art education resourcesNSEAD's newly revised
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anti-racist art education resources are essential reading. Covering all aspects of equity and anti-racism in art, craft and design education there are checklists for the curriculum, terminology support and links to additional material to allow educators access to research, resources and reading to inform their teaching.

Reflections on reflecting: How to support teachers to meaningfully reflect on professional developmentFrom the Research School Network, this
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short blog discusses the importance of reflection activities within teacher CPDL.

If you have found the TDF newsletters useful and want to access more, then take a look at our
new padlet page which brings together all of the back issues alongside other content created by grantees for journals and websites. You're also welcome to share this newsletter with your colleagues and to invite them to subscribe.

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Teacher Development Fund Newsletter | The power of arts-based CPDL for 'educationally isolated' schools | Edition 9 - Spring 2023

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Anti-racist art education resourcesNSEAD's newly revised - anti-racist art education resources are essential reading. Covering all aspects of equity and anti-racism in art, craft and design education there are checklists for the curriculum, terminology support and links to additional material to allow educators access to research, resources and reading to inform their teaching.

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Teacher Development Fund Newsletter | Finding opportunities in uncertain times | Edition 8 - Autumn 2022

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Teacher Development Fund Newsletter | Learning from blended learning | Edition 7 - Summer 2022

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[Blog]  Newlyn Primary School/ Researching the arts in primary schools (RAPs)  2022

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[Blog]  Newlyn Primary School/ Researching the arts in primary schools (RAPs)  2022

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Newlyn Primary School is a part of THINK, TALK, MAKE ART with Newlyn Art Gallery (TDF Round 4)

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Newlyn is a small fishing village on the south coast of Cornwall, just over a mile west of Penzance. The school of 120 students sits just up the hill from the seafront. Even on a misty morning, you can see St Michael's Mount from the library's big bay window.

And while Newlyn Primary school is on the same street as a long-established and prestigious contemporary art gallery, in the same village as three private commercial art galleries, and a short mini-bus drive from places of arts and culture, Newlyn is an area of high poverty. Head teacher Isabel Stephens told us that ' 50% of our children come from an estate which is in the bottom 10% economically in Europe. 43% of the children are on free school meals.'

Four years into her role, Isabel talked about the substantial changes she had made to the curriculum in order to rebrand the school around the arts and encourage parents (and staff) to apply. In fact, the arts which now drive ' everything '. Students study a diverse range of artists, while focussing on skills progression and conceptual understanding.

For example, the students spoke of their recent visit to a workshop by ex-Brixton resident Denzil Forrester, as part of Black Voices of Cornwall's Captured Beauty exhibition at the Newlyn Art Gallery & The Exchange. Denzil's large canvas in the gallery was of a reggae sound-system event, full of dancers and DJs.

Dezil Forrester

Denzil told the children how he used to sketch in the semi-darkness of the dancehalls, capturing the dynamic free-flowing movements of the dancers. The students were excited about the workshop and their own 'gestural drawings', sometimes created with charcoals and pencils in each hand.

The students also talked about their visits to the dramatic cliff-top open-air Minack Theatre to watch plays and musicals and to perform themselves. We learned how Year 5 were putting the finishing touches on their performance of a scene from The Tempest in collaboration with other local schools.

Minack Theatre

We were excited to discover that Newlyn Primary has its own art gallery. A diverse range of paintings, collages and sculptures are currently on loan from Newlyn Art Gallery and Cornwall Council as part of the Think, Talk, Make Art project funded by Arts Council England, the first time such art works have been allowed into a school. These include a large canvas by local (St Ives) artist/sculptor Barbara Hepworth.

The school established links with Newlyn Art Gallery to facilitate the selection of the pieces and make plans for the children to act as curators and guides once the art works had been re-installed in their original home (still delayed by Covid). The scheme has been extended by a successful application for Paul Hamlyn Foundation Teacher Development funding to get artists from Newlyn Art Gallery to work with teachers.

Isabel talked about being ' properly terrified' at the monetary value of the art works; one child said ' I can't believe that Newlyn school children are allowed something like this'. Once again, we had to remind ourselves that we were in a primary school, not a contemporary art gallery.

Isabel described the impact of the gallery as ' absolutely huge ':

' All of the work I was doing on behaviour and respecting others could be reinforced by the fact that they had the gallery' she explained. ' The children were trusted with something and their behaviour towards it has always been totally respectful'.

She also talked about a rise in the students' self-esteem and their vocabulary and language from guiding visitors (like us) around the art works and offering their commentary.

The students' art works on the walls and in their sketchbooks matched the vibrancy, diversity and impact of those in the loaned gallery:

The students talked to us about doing arts projects around the local culture and locations - tin mining, fishing, Saint Michael's Mount, dragons and legends. They also described printing onto paper with actual fish! They were also excited at being involved in the upcoming Golowan festival parade.

'I think you've got to be quite brave to focus on art' Isabel explained.

Rest assured that the 'brave new world' promised in Shakespeare's The Tempest is taking shape in the form of this fascinating arts-rich primary school.

Many thanks to Head Teacher Isabel Stephens, Art Coordinator and Year 4 teacher Rebecca Rollason, teacher Julie Wood, TA Rowena Baldwin and the Year 4 and 5 students we spoke with on the day.

You may also be interested in reading our recently-published Art, Craft and Design Rapid Evidence Review - a survey of published scholarly literature on art, craft and design in education.

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cornwall - Researching the Arts in Primary Schools

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Newlyn is a small fishing village on the south coast of Cornwall, just over a mile west of Penzance. The school of 120 students sits just up the hill from the seafront. Even on a misty morning, you can see St Michael's Mount from the library's big bay window.

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This film explores the Teacher Development Fund from the perspective of headteachers and senior leaders and shows what the programme looks like in action. Featuring headteachers and members of our advisory panel, the film highlights how the fund helps to create more equitable classrooms, support teachers’ professional learning and build effective partnerships between schools and arts organisations.

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Teacher Development Fund | What senior leaders have to say

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This film explores the Teacher Development Fund from the perspective of head teachers and senior leaders and shows what the programme looks like in action.

Featuring head teachers and members of our advisory panel, the film highlights how the fund helps to create more equitable classrooms, support teachers’ professional learning and build effective partnerships between schools and arts organisations.

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The Teacher Development Fund (TDF) aims to enable teachers and school leaders to develop their skills, knowledge and experience in order to embed learning through the arts in the primary curriculum. As part of its evaluation of the TDF pilot programme, the Centre for the Use of Research and Evidence in Education (CUREE) carried out case studies of four individual schools participating in this programme.

This study looks at how a primary school with a predisposition to embedding learning through the arts in the curriculum used this approach to help improve pupils' wellbeing, create a whole-school culture and ethos, and support students experiencing disadvantage.

CUREE's full evaluation of the two-year pilot programme is available here.

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Case study: Hotspur Primary School, Concordia (Newcastle, England) - Paul Hamlyn Foundation

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The Teacher Development Fund (TDF) aims to enable teachers and school leaders to develop their skills, knowledge and experience in order to embed learning through the arts in the primary curriculum. As part of its evaluation of the TDF pilot programme, the Centre for the Use of Research and Evidence in Education (CUREE) carried out [...]

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Case study: Burry Port Community Primary School/Ysgol Gynradd Gymunedol Porth Tywyn, Listening to Language/Cerdd laith (Burry Port, Wales) - Paul Hamlyn Foundation

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The Teacher Development Fund (TDF) aims to enable teachers and school leaders to develop their skills, knowledge and experience in order to embed learning through the arts in the primary curriculum. As part of its evaluation of the TDF pilot programme, the Centre for the Use of Research and Evidence…

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an artist's perspective (Autumn 2018/blog)

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an artist's perspective (Autumn 2018/blog)

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Rachel Gartside, Education Associate Practitioner, RSC

I think my role is to offer appropriate inspiration for change. That might be in the form of encouraging colleagues to take risks in the approaches they are working with, or thinking differently about learning outcomes, or modelling different teaching and learning relationships or making connections between this programme and other strategic initiatives

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[Briefing Paper]  Voices Foundation (TDF1)/The benefits of music activity for disadvantaged children

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[Briefing Paper]  Voices Foundation (TDF1)/The benefits of music activity for disadvantaged children

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2023, Rd 4 Impact Magazine/Chartered College (Summer 2023) - from Leeds Beckett University

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2023, Rd 4 Impact Magazine/Chartered College (Summer 2023) - from Leeds Beckett University

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LISA STEPHENSON AND RACHEL LOFTHOUSE, CARNEGIE SCHOOL OF EDUCATION, LEEDS BECKETT UNIVERSITY, UK

Oral language skills underpin children's educational success and enhance positive cognitive, social, emotional and life outcomes. However , significant numbers of children struggle to develop competence in speaking and listening, especially children from areas of high economic deprivation (Dobinson and Dockrell, 2021). This is highlighted by the Oracy All-Party Parliamentary Policy Group (APPG), whose reports are advocating a renewed focus on oracy (2020).

This case study shares the emerging findings from year one of a two-year project, funded by the Paul Hamlyn Teacher Development Fund. We are utilising drama pedagogy to bring the curriculum to life through storytelling, with an explicit focus on children's oracy. The project is co-led by research and practice experts in drama pedagogy (Stephenson, 2022) from the Story Makers Company, Leeds Beckett University and school leaders from Bowling Park Primary. The eight partner schools are in the Bradford BD5 school's network, and share an ambition to embed an integrated story approach to curriculum. Our focus is on embedding drama pedagogy within the humanities subjects, creating an imaginative story curriculum experience in Years 3 and 4 across the schools. As part of this knowledge exchange, teachers are paired with one of five artist educators (specialists in drama pedagogy) and given time and space to , and for 15 sessions across each year. Central to this process of professional development and learning (CPDL) is a coaching approach (Lofthouse, 2019), blended with expert pedagogical modelling and learning exchange. This article explores the ways in which our co-inquiry approach to CPDL was integral to supporting more sustainable pedagogical changes in the localised contexts of the schools involved.

Educational landscape: Context and ambition

The eight partnership schools are situated in an economically deprived area of inner-city Bradford. Their 3,800 children come from a diverse range of ethnic and cultural backgrounds. The schools have very strong ties to the local community and were keen bring this experience to the project, ensuring that it remained culturally relevant to their children's lived experiences. Many of the children start in Early Years with social and language skills well below national expectations, and a large majority of pupils speak English as an additional language (EAL). Additionally, some are 'new to English', coming from the Czech Republic or Slovakia, and some of these are from Gypsy or Roma backgrounds. The schools noted a significant impact on learner's oracy and communications skills following COVID-19 (Lander et al, 2022) and they were not alone. The All-Party Parliamentary Group on Oracy (APPG) reported that school closures had a detrimental effect on the spoken language of their most disadvantaged pupils.

Embedding oracy: Why drama pedagogy?

Initially, senior leaders across the schools discussed the need for a ' collaborative brave space' to make new informed pedagogical choices through engagement in creative pedagogies that would impact on pupils' social mobility (Cultural Alliance, 2019). The term 'brave space' recognises that our pedagogical approach initially 'felt risky' because many were unsure about how it would integrate with curriculum requirements. Our model of CPDL was therefore critical in empowering teachers to activate curriculum content from a different pedagogical starting point.

Drama, expressive arts and story have a unique way of activating emotion and action. The project uses drama pedagogy, and not 'teaching drama'. In drama pedagogy or 'drama worldbuilding' (Stephenson, 2022), children co-create stories with elements of active social problem-solving alongside teachers and artists. Within these fictional contexts, they are challenged to work collectively, coming up with ideas that draw from their diverse perspectives. A topic about the Maya can become a story about friendship or competing values, as well as covering historical content. This means that they are actively applying curriculum content, such as geographical or history topics, using a range of inquiry and communication skills that foreground oracy and relationships. For some children, such those from Roma backgrounds, storytelling draws from their cultural literacy practices more than writing and text. The pedagogy involves making meaning through linguistic, visual, audio and spatial modes of communication - this is effective for EAL learners and has been shown to improve spontaneity, fluency, articulation, vocabulary and the use of diverse language registers (O'Toole and Stinson, 2013). However, like most creative pedagogies, it can be difficult to 'evidence'. Research-informed expertise in the pedagogy was therefore critical to embedding high-quality learning.

Professional development as a pedagogy of noticing through co-inquiry

The rhythm of the CPDL model has been key in holding space for co-creation, co-planning and co-reflection and driving the project. This action research cycle has provided sustained time and space for teachers and artists to take professional ownership, embedding practices at their own pace in a non-judgmental community of practice. Each term begins and ends with professional practice days, where pedagogy is modelled and shared across schools. This process is underpinned by three main inquiry questions,

1. Why does this pedagogical approach matter to us and our children?

2. How does drama/creative pedagogy work in our classrooms/schools/curriculum?

3. What is the impact of this pedagogy on teaching and learning?

Our process is outlined through six principles of co-inquiry across the year:

Following each co-taught session in school, artist, teacher and coach also have a reflective conversation. The five coaches have a range of professional experiences as SLT, teachers and artists, with the coaching providing diverse perspectives. Termly online coach meetings are used to feed back across schools, providing a strong feedforward loop from which to address tensions and needs within the project on CPD days. Our model of CPDL is outlined in Figure 1. We view this integrated coaching partnership as relational and dialogic (Lofthouse, 2019), meaning that professional practice is co-created through sustained co-inquiry.

Figure 1: A pedagogy of noticing through co-inquiry

In all coaching and professional development sessions across the project, we asked teachers and artists to co-reflect on the significant moments that they noticed within sessions . Rooney and Boud (2019) note that professional noticing is essential for developing professional practice. It is an intentional activity embedded in observing and performing professional practice , providing shared dialogue and meaning making.

Emerging findings

At the midpoint of the project, we interviewed 20 teachers and five artists across all schools. Each school pairing was invited to critically reflect on the project so far through the following questions:

Differing teacher responses have been thematically analysed below and indicate that teachers are noticing learning in new ways in relation to their own professional development and the impact on pupils.

Time and space for reimagining pedagogical approaches

Teachers initially reflected on the importance of professional trust in trying new pedagogies. This initially involved relinquishing a sense of power and control and having time for observation.

It's a different approach to teaching. I think if I was in the classroom I might not have let go of the control as easily as I did in the different space that we were using .
I think with the teacher head on it was quite tricky trying to make that decision, because as a teacher you plan your lessons, and you know how you want the lessons to sort of go and what you want out of the children.

Meaningful pupil investment

Many of the teachers' reflections involved noticing pupil investment in new ways. Investment was related to increased confidence in expression, active engagement in sessions and stronger friendships.

It was quite difficult at the start, but then I thought "yes, this is going to work" because they were just so enthusiastic and all they kept talking about is "that's my building". They're coming up with words like "the walls will never melt", "it's got steel" and yes, they were just so invested in it and then some of them went home to research, didn't they?

Pupil investment was also linked to extending learning from home to school and a greater sense of inquiry and exploratory questioning from children.

He doesn't engage at playtime with anybody. He doesn't interact socially. After we'd done the wise man and he'd got a bit of confidence to speak out, he was actually interacting at playtime and playing games with the other children. He found his voice in the session but then carried it on further in the rest of his school life.

Challenging impact on pupil learning

Teachers often recounted aspects of learning that surprised them. These often related to the impact on learning, such as use of higher-order vocabulary, social and emotional engagement, use of a range of language registers and non-verbal communication, which challenged their perceptions of what they felt some children were capable of.

Yes, I think it allows opportunities for children who perhaps, like you say, struggle in the classroom setting, to be celebrated and to be successful. I think it also gives us as teachers a bit more headspace and time to look at that in a different context where you're not so wrapped up in worrying about leading lessons and the complications that comes with that. You're able to observe children in a different way.

Teachers observed that children linked the story worlds to their lived experiences, and that many of their questions were related to social justice - this fueled meaningful dialogic inquiry and agentic learning.

No. I'd say for me it was quite unique and I think the way that they actually pictured the conflict itself and talked about it being heavy was something I hadn't anticipated that they would be thinking like that.

Discussion: Empowering teachers through dialogic co-inquiry

In relation to oracy, drama pedagogy creates a 'dialogic space' (Mercer and Mannion, 2018), where communication in the classroom is collective (teachers and children in partnership). It is 'reciprocal' (talking, listening and sharing viewpoints), supportive (no fear of failure), cumulative (builds on each other's ideas) and purposeful (with educational goals in view). Our CPDL model was underpinned by these principles.

As we continue the project, a new model of the social and emotional aspects of oracy has been developed, based on teachers' observations of children's learning, by Stephenson, Patel, and Crowther. This focuses on conflict resolution and wellbeing competencies Currently, this empirical research (Stephenson, 2022) is being piloted across all schools and developed further as a formative assessment that aims to support teachers and policymakers nationally and internationally and feed into the Oracy APPG work. It will be shared through our project website.

While this project has cost and time implications, its success has relied on sustained investment, commitment and responsive actions from all involved. Insights have emerged from holding spaces for professional noticing over the first year, and are underpinned by empirical research. We were all able to shift our practices through a process of co-inquiry. Critically, the creative pedagogy has impacted positively on pupil learning and relationships, creating a culturally relevant curriculum. More widely, the project highlights the potential of developing meaningful partnerships between schools and universities in order to teachers and schools to develop responsive pedagogies to the needs of their learners.

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A pedagogy of professional noticing and co-inquiry: Embedding drama for oracy across the primary curriculum : My College

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LISA STEPHENSON AND RACHEL LOFTHOUSE, CARNEGIE SCHOOL OF EDUCATION, LEEDS BECKETT UNIVERSITY, UK Introduction Oral language skills underpin children's educational success and enhance positive cognitive, social, emotional and life outcomes. However, significant numbers of children struggle to develop competence in speaking and listening, especially children from areas of high economic deprivation (Dobinson and Dockrell, 2021).

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[Briefing Paper] Rd 1, Voices Foundation Redefining what it means to be 'musical' and gaining confidence to sing.

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[Briefing Paper] Rd 1, Voices Foundation Redefining what it means to be 'musical' and gaining confidence to sing.

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2 of 3 briefing papers from Voices Foundation (TDF1)

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[Article] Rd 1 Dec 2020, From the International Journal of Art and Design Education.  

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[Article] Rd 1 Dec 2020, From the International Journal of Art and Design Education.  

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Valuing Voices (Round 2)

grew from an existing alliance of schools (Kent Special Educational Needs Trust) , a number of artists (visual, sound and movement) who had previously only worked in mainstream educational settings and university staff specialising in art education. This article, created for  iJADE and published in partnership with Wiley explores some of the challenges and 'discomforts' of co-construction and delivery over the course of the programme.

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[Briefing Paper]  Rd 1 Voices Foundation   Mind the Music Gap

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[Briefing Paper]  Rd 1 Voices Foundation   Mind the Music Gap

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1 of 3 briefing papers from Voices Foundation

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[Article] Chartered College/Impact Magazine. Issue 7: Arts, Creativity and Cultural Education, Autumn 2019

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[Article] Chartered College/Impact Magazine. Issue 7: Arts, Creativity and Cultural Education, Autumn 2019

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Professional learning to embed learning in and through the arts in the primary curriculum

Rebecca Raybould, Bart Crisp and Philippa Cordingley

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Introduction

The arts can be a powerful vehicle for supporting children experiencing disadvantage, with rich approaches to learning in non-arts subjects and connecting the school curriculum with experiences beyond school. The growing commitment from teachers and leaders to harness the full potential of arts in the curriculum, along with the increased policy drive for the An approach where a school aims to ensure that all children ... The Office for Standards in Education, Children's Services... More of the arts and the emphasis on thoughtful and specialist curriculum design ( More , 2018), offer great opportunities to schools and arts organisations. But they also pose challenges in, for example, developing shared expertise across different specialist and sector boundaries - challenges for both teachers and arts practitioners.

Context

Paul Hamlyn Foundation is one of the largest independent grant-makers in the UK, with a mission to help people overcome disadvantage and lack of opportunity. CUREE has been working with Paul Hamlyn Foundation (PHF) as independent evaluators of the Teacher Development Fund (TDF), which forms part of the Foundation's strategic priority to support education and learning through the arts.

This paper summarises key factors in continuing professional development and learning (CPDL) for supporting the embedding of learning in and through the arts in the primary curriculum, identified through the independent, formative and summative evaluation of the TDF. It also includes examples of practice, along with implications for those leading CPDL and arts in school.

The TDF was developed as a one-year pilot programme running from September 2016, involving seven different projects across England, Northern Ireland, Scotland and Wales, in which over 400 teachers and school leaders engaged in enquiry-based CPDL, facilitated by artist practitioners. During the first year, it was recognised that more time was needed to further embed the learning, so an additional year was added to the pilot. Six projects were involved in the second year. These ranged from using singing to transform whole-school environments to giving teachers and students the skills and confidence to be critical consumers and makers of film, as a way of enhancing literacy and numeracy.

Evaluation aims and methods

The evaluation aimed to explore the capacity of the pilot projects to address key TDF priorities, including using evidence-based approaches to scaffold and support CPDL.

Throughout the pilot, CUREE collected and analysed evidence about project activities and learning progress of students, teachers, leaders and artists. The evaluation was designed to be useful to participants at all levels and included:

Participant surveys: Participants were asked to complete three surveys across each year: an initial survey to capture attitudes at the beginning of the project and create a baseline against which progress could be measured; a mid-point survey in March to track emerging successes and obstacles; and a final survey in June to identify what had been achieved over the year and to capture thoughts on sustainability. Evaluators worked in partnership with grantees, who gave regular feedback about response rates.

Practical enquiry tools: Practical local evaluation tools were provided by CUREE to the programme participants to build a coherent picture of how the project was affecting students, teachers and school leaders. These included tools to explore the impact on students' emotional and subjective experiences, engagement and wellbeing; teacher journals; and teacher and leadership enquiry tools, which enabled participants to reflect on the impact of project learning on student progress and activity across school.

Interviews: These were held with a wide range of stakeholders, including PHF grant managers, project leads, teachers and leaders in case study schools. All projects were asked to submit interim and final reports to PHF, which CUREE used to gain insight into the projects' self-assessments of the successes and progress made during the pilot year, improvements still to be made and plans for continuation. To supplement this, CUREE also conducted phone interviews with project leads from May to June 2017.

Evidence collected during the evaluation was used at several levels. For example, teachers used the student enquiry tools to reflect on the learning of children experiencing disadvantage and so refine the way in which they used arts in the curriculum to meet these students' needs. The teacher and leadership enquiry tools were used to identify next steps within school, based on a combination of the reflections of both teachers and leaders, which were built into the tools. The tools were also used to inform evaluation within and across each of the six projects. The design of the evaluation tools was rooted in wider evidence about effective CPDL (Cordingley et al., 2015). Additionally, regular interim reports were made to PHF colleagues and the Programme Advisory Group to enable them to make evidence-based refinements to the programme.

This evaluation analysis revealed several key factors that are of particular relevance for those with a role in leading CPDL and arts in and across schools.

The key factors

The key factors in CPDL for supporting the embedding of learning in and through the arts in the primary curriculum included:

Developing a shared learning environment

The evidence highlighted the importance of developing an environment where all are positioned as learners, where arts specialists, school leaders and teachers all work together for the benefit of the children (particularly those experiencing disadvantage). So whilst arts practitioners brought important specialist expertise about the arts, teachers had in-depth knowledge of their students' needs in the context of the school and leaders had specialist knowledge of disadvantaged students' needs within the school and of curriculum organisation and priorities. Programme-sharing days where feedback from the surveys was explored gradually helped projects to tease out the important and distinctive contributions that each stakeholder group could make and areas where expertise and capacity existed but was, so far, underused. In the context of local experiences and the emerging evidence about practices, over time, the projects developed a learning environment that recognised the important expertise that all brought and encouraged the development of reciprocal learning. The forms of CPDL and way in which these were used were often important in building such a learning environment. For example, in one case study school, teachers and artist practitioners planned sessions together. The work with the artist practitioners struck a good balance between inviting challenge, drawing on expertise and retaining teacher ownership of the planning process. As one teacher reflected: 'I feel having the artist practitioner there to support, but taking responsibility for the implementation in my class, has allowed my confidence to grow.'

Developing teacher autonomy

The broader evidence emphasised the importance of developing teacher autonomy. Teachers gained skills, knowledge and confidence about learning in and through the arts so that they were able to innovate in their classrooms. Projects were required to design CPDL in accordance with the CPD Standards to enable teachers to acquire new specialist skills, knowledge and confidence and take increasing control and ownership of how they used them. For example, in one case study, which focused on enabling children to access at least one hour of high-functioning learning through the arts per day for four days a week, school teachers' capacity and confidence to experiment with new techniques and to take on the approach were supported initially by the structured lesson plans designed and refined as part of the project. From this relatively scaffolded - and, some felt, prescriptive - starting point, support became increasingly focused on co-planning to enable teachers to gain skills, knowledge and confidence, and on taking control and ownership of how they used the knowledge and skills. Over the two years of the project, the lesson plans became a cornucopia of ideas rather than a prescription. As the school's lead teacher said: 'I read one session plan now and see a multitude of opportunities from that one session's plan. And I think that's how [the teachers] feel as well. They followed them quite strictly to start with and gradually became more fluid in the way they approached the use of them. They really valued the support of them to start with.'

Developing CPDL leadership

The evidence highlighted the importance of leaders taking an active role in promoting and participating in arts-based learning, as well as the importance of enabling participating teachers to develop as CPDL learners. Thus projects learned in the second year to design CPDL that involved leaders in taking an active role in working with arts specialists. In the second year, teachers were increasingly involved in facilitating the learning of other teachers. As the ICT coordinator said: 'Now that people know I'm the film leader, they will come and ask me about things they can do.' Her plans for leading CPDL in learning through film at the school included setting aside three training days and/or time during weekly staff meetings in the first term to introduce staff to different aspects of filmmaking, and building the approaches into the ICT and literacy School Development Priorities. The headteacher pointed to her particular strengths in disseminating her own learning to other staff. These included her ability to talk to teachers about the purpose of the approach and willingness to explore with them examples of what her students had achieved. There was also an appetite amongst other staff to take the lead in developing the use of film in the year groups they teach - for example, exploring where there might be opportunities for younger students to be introduced to filmmaking and the challenges this would involve.

Paying attention to the project management of CPDL experiences

The evidence highlighted the importance of ensuring that all elements of the CPDL worked cohesively to fulfil the project aims. In this case, the project funders supported projects in setting a vision for student learning and planning a rhythm of quality assured CPDL that maximised teacher and leader learning to fulfil the vision and that was manageable within the constraints of the school timetable and physical environment.

Some implications for those leading CPDL and the arts

This evaluation was focused on arts-based learning projects funded by PHF and so it is important to recognise that its findings cannot simply be generalised and applied without recontexualisation and an awareness of the limitations. However, the CPDL was designed, in the main, to align with the English CPD standards, which were themselves evidence informed. The key building blocks were also aligned with best evidence about effective CPD (Cordingley et al., 2015). As a result, the core building blocks align with the wider evidence base about CPDL and pay particular attention to creating opportunities for teachers to contextualise their professional learning for different subject contexts and sub-groups of students (in this case, those experiencing disadvantage), through support from specialists. Therefore, we tentatively suggest that those leading CPDL and the arts might want to consider, in relation to their context, the extent to which their vision for CPDL for embedding the arts in the curriculum:

promotes a shared learning environment where students, teachers, leaders and arts practitioners/experts recognise the interdependencies between the specialist expertise that they all bring, to develop reciprocal learning relationships in which they all feel safe enough to share their learning processes

develops teacher autonomy so that colleagues feel able, supported and secure to use the knowledge, skills and confidence they have gained to innovate in and out of the classroom

involves leaders at all levels in actively participating in professional learning, including working directly with artist practitioners

uses CPDL designs that carefully align to fulfil the curriculum vision and identify and remove barriers to learning for students experiencing disadvantage.

References

Cordingley P, Higgins S, Greany T et al. (2015) Developing great teaching: Lessons from the international reviews into effective professional development. Project Report. London: Teacher Development Trust. Available at: www.curee.co.uk/files/publication/[site-timestamp]/DGT%20Full%20report%20(1).pdf (accessed 19 July 2019).

Ofsted (2018) HMCI commentary: Curriculum and the new education inspection framework. Available at: www.gov.uk/government/speeches/hmci-commentary-curriculum-and-the-new-education-inspection-framework (accessed 19 July 2019).

Links

Project report: www.phf.org.uk/publications/teacher-development-fund-pilot-programme-2016-18-evaluation

Paul Hamlyn Foundation and Teacher Development Fund (including case studies): www.phf.org.uk/funds/tdf

CUREE: www.curee.co.uk

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Professional learning to embed learning in and through the arts in the primary curriculum

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Introduction The arts can be a powerful vehicle for supporting children experiencing disadvantage, with rich approaches to learning in non-arts subjects and connecting the school curriculum with experiences beyond school. The growing commitment from teachers and leaders to harness the full potential of arts in the curriculum, along with the increased policy drive for the [...]

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[Article] Pilot Rd, Chartered College/Impact Magazine - Issue 7: Arts, Creativity and Cultural Education Autumn 2019

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[Article] Pilot Rd, Chartered College/Impact Magazine - Issue 7: Arts, Creativity and Cultural Education Autumn 2019

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All The School’s A Stage: Embedding drama into the primary curriculum (The Globe/Southwark TSA /TDF2)

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We know that participation in structured arts activities can improve learning, attainment, employability, health and social engagement (Cultural Learning Alliance, 2017), and initial training for primary teachers stresses the value of drama and creative approaches to learning. But time pressures lead to less attention directed towards how these translate into classroom practice, leaving teachers lacking in confidence as well as skills. Schools have always been enthusiastic participants in arts projects but too often such projects are short-lived and seen as add-ons to the curriculum. Led by artist practitioners, they are exciting while they last, but leave teachers with little expertise or motivation to replicate or adapt them in future curriculum planning.

Paul Hamlyn Foundation's Teacher Development Fund aims to support the delivery of effective arts-based teaching and learning opportunities in the primary classroom, and to embed learning through the arts in the curriculum. The Fund has already enabled 13 partnership projects between arts organisations, teachers and school leaders, with a further seven to begin in September 2019. 'All The School's A Stage' is one such project, and is a partnership between Shakespeare's Globe and London South Teaching School Alliance. The project seeks to find a way to make arts projects in schools sustainable and to support teachers to embed learning from a short-term project into whole-school practice. It explores how artist practitioners can support teachers to embed drama techniques into the curriculum, making a long-term sustainable difference to teaching and learning in seven participating primary schools. All seven inner city schools teach pupils from deprived backgrounds, and the project is particularly keen to understand the difference that long-term exposure to effective arts teaching can make for these pupils.

The project uses Shakespeare's stories to enhance pupils' spiritual, moral, social and cultural development and their understanding of the world, as part of a commitment to Cox's assertion that children are the 'makers of meanings in their own texts and... in the texts of others' (1989). For younger children, stories read or heard help them to understand the world in which they live and allow them to transmit that understanding to others. A combination of structured drama, role-play and active participation is used to bring these stories to life, supporting the development of confidence, decision-making and collaborative learning, and enabling pupils to question the moral choices encountered within the stories.

Phase one of the project used Shakespeare's iconic plays to provide teachers in Years 1 and 3 with the skills and confidence to incorporate practical, arts-based approaches to literacy into their classroom practice. Skilled artist practitioners from The Globe modelled how to use drama and structured role-play in relation to two Shakespeare plays per year group. They introduced teachers to dramatic techniques like conscience corridor, forum theatre, freeze frame and magic canvas. Over five weeks of structured collaboration, team-teaching and coaching, allowing multiple opportunities for teachers to practise their newly learned skills, the artist practitioners supported the teachers to gradually take responsibility for delivering the pre-planned units of work using these techniques with their own classes. The model for the process is based on research from Joyce and Showers (2002), which confirmed that professional development alone cannot radically change and improve teachers' practice. A combination of training, expert modelling, in-class support, coaching and mentoring, team teaching and focused feedback from a supportive peer, eventually leading to independent delivery, has the highest return on improving teaching and learning.

This first phase of the project sought to develop teachers' knowledge across two of Shulman's domains (1986). Firstly, it developed their subject knowledge by instilling an appreciation and understanding of Shakespeare's stories. Secondly, it developed their pedagogical knowledge regarding active methods, which 'comprise a wide range of expressive, creative and physical activities... [and] are the antithesis of methods in which students sit passively, without intellectual or emotional engagement' (Stredder, 2009, p. 12). Teachers acquired techniques for making Shakespeare's plays and other stories accessible to young children, enabling children to explore Shakespeare's narratives not just as listeners but as storytellers. This phase bridged the gap between 'expert' artist practitioners and classroom teachers, making explicit the approaches the artists use, and supporting teachers to try these approaches for themselves, 'surfacing' teacher cognitive processes of planning, instruction and reflection as part of longer-term development (Hollins, 2011).

Pupils in each of the participating teachers' classes benefited directly from the experience of engaging with the Shakespeare plays through a storytelling approach. They then deepened their learning through the teaching of new units of work based on a second Shakespeare play, with explicit language and drama work feeding into the development of more effective writing skills. The units of work are designed to develop new vocabulary, support pupils to gain meaning from the reading of complex texts, increase pupils' confidence and skill in speaking, and inspire pieces of writing for specific contexts and audiences.

As the project ends its first year and begins phase two, it moves into its experimental phase, tackling a third Shulman domain (1986): the development of teachers' pedagogical content knowledge as they apply drama and role-play to support teaching and learning across the wider curriculum beyond Shakespeare's plays, integrating their newly acquired pedagogical knowledge with different subject knowledge. The project has now begun to support the four trained teachers in each of the seven schools to build these techniques into their wider curriculum, and will then enable them to disseminate this learning to their school colleagues, teaching them the techniques and showing them their cross-curricular potential, as well as training them in approaches to designing and leading professional development.

Using implementation theory, which shows us how dedicated implementation teams can facilitate and shape local change, removing barriers as they arise (Metz et al., 2015), the project will explore how best to support whole-school change with an arts focus.

The second phase will allow the lead teachers to set the direction, within the parameters of what the project is trying to achieve. There will no longer be scripted units of work, but there is a handbook of dramatic techniques that they can select from and develop in their own settings, meaning that the second year will be both 'tight' enough to keep its focus and 'loose' enough to enable teacher ownership (Sharples et al., 2018). The project will support them to engage in structured peer-to-peer collaboration across schools (Sharples et al., 2018). The role of senior leaders and their engagement in the implementation process will be crucial, as leaders both enable and attribute value to the change in practice (Hall and Hord, 2001). Senior leaders are expected to support the lead teachers and to participate in key learning activities in order to be better placed to support whole-school implementation.

As the balance of expertise shifts from the Teaching School Alliance and The Globe 'experts' to the lead teachers, there is a deeper engagement with the project's goals and a curiosity about how this next phase will unfold. The Teaching School Alliance and Globe team believe that this shift in power is what is needed to enable deep systemic change: with careful, consultative support, teachers can effect positive whole-school change through the arts.

To find out more about Paul Hamlyn Foundation's Teacher Development Fund, visit: www.phf.org.uk/funds/tdf

References

Cox B (1989) English for ages 5-16. London: DES. Available at: www.educationengland.org.uk/documents/cox1989/cox89.html (accessed 3 June 2019).

Cultural Learning Alliance (2017) The case for cultural learning: Key research findings. Available at: https://schoolsweek.co.uk/corbyn-labour-will-scrap-sats (accessed 29 May 2019).

Hall GE and Hord SM (2001) Implementing Change: Patterns, Principles and Potholes. Boston: Allyn and Bacon.

Hollins ER (2011) Teacher preparation for quality teaching. Journal of Teacher Education 62(4): 395-407.

Joyce B and Showers B (2002) Designing Training and Peer Coaching: Our Needs for Learning. Virginia: Association for Supervision & Curriculum Development.

Metz A, Bartley L, Ball H et al. (2015) Active implementation frameworks for successful service delivery: Catawba county child wellbeing project. Research on Social Work Practice 25(4): 415-422.

Sharples J, Albers B and Fraser S (2018) Putting evidence to work: A school's guide to implementation: Guidance Report. Education Endowment Foundation. Available at: https://educationendowmentfoundation.org.uk/tools/guidance-reports/a-schools-guide-to-implementation (accessed 25 July 2019).

Shulman LS (1986) Those who understand: Knowledge growth in teaching. Educational Researcher 15(2): 4-14.

Stredder J (2009) The North Face of Shakespeare. Stratford-upon-Avon: Wincot Press.

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All The School's A Stage: Embedding drama into the primary curriculum

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We know that participation in structured arts activities can improve learning, attainment, employability, health and social engagement (Cultural Learning Alliance, 2017), and initial training for primary teachers stresses the value of drama and creative approaches to learning. But time pressures lead to less attention directed towards how these translate into classroom practice, leaving teachers lacking [...]

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[Article] Issue 7: Arts, Creativity and Cultural Education, Autumn 2019

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[Article] Issue 7: Arts, Creativity and Cultural Education, Autumn 2019

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Death of the CPD twilight: Improvement in children’s writing through impactful arts-based CPDL  Case Study

Written by: Vicky Storey and Samantha Oliver

(re RSC/TDF Pilot)

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Death of the CPD twilight: Improvement in children’s writing through impactful arts-based CPDL

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The DfE’s Standard for Teachers’ Professional Development (2016) suggests that a stand-alone training event, such as a one-off twilight session, is ‘unlikely to have a lasting impact on pupil outcomes’ and instead promotes a longer-term programme of varied activities. In this case study we (a Y6 tea…

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School visits and the role of digitalPublished by the School of Museum Studies at Leicester University, this report collates the findings from a survey to museum colleagues. The study explores the modes and extent of technology use to support school visits during the pandemic. It also highlights the future prospects for blended learning approaches for cultural organisations.
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Read the report

NSEAD: The benefits of Art, Craft and Design Education in schoolsNSEAD's new rapid evidence review brings together over 450 research titles to explore the definition, context for teaching and the benefits of Art, Craft and Design Education.
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Download the free review

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Teacher Development Fund Newsletter | Connection and community | Edition 6 - Spring 2022

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School visits and the role of digitalPublished by the School of Museum Studies at Leicester University, this report collates the findings from a survey to museum colleagues. The study explores the modes and extent of technology use to support school visits during the pandemic.

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Welcome to the first newsletter of this academic year and a special welcome to all the artists and educators from round 4 who are beginning their TDF journey this term. This edition of the newsletter draws together some insights from rounds 2 and 3 with a particular focus on how programmes have navigated the many challenges of the past year. In addition, TDF Advisory Group Member Johanne Clifton offers some reflections on the return to the new normal in schools and the importance of the arts in and beyond the pandemic.
If you have any feedback on this newsletter or content that you would like to see included in future editions, then do get in touch - email
ela@phf.org.uk

Reflections

The return of almost normal
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Johanne Clifton, Director of Curriculum and Virtual Learning for the Elliott Foundation and TDF Advisory Group Member, looks back on what we have learned through the pandemic and how the arts can create new and innovative opportunities for teaching and learning. Read more (3 min read)

Project insights

Creative Learning Coordinators, Dave and Lucy, working with a group of young people in the Chapter and Verse theatre space. Photo: Gemma Thornton. Courtesy of Grimm & Co.

Re-connect, re-engage and re-ignite: Making space for creativity
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Hannah Baker, Primary Literacy Lead for Astrea Academy Trust, highlights the vital role the arts can play in developing creativity in teaching and learning, igniting the imaginations of teachers and pupils and reconnecting school communities in the face of the challenges posed by the pandemic. Astrea Academy Trust has partnered with literacy charity Grimm & Co to deliver ‘Chapter & Verse’ to support teachers to develop and embed multi-disciplinary arts approaches to teaching and learning in the primary curriculum. Read more (6 min read)

School readiness through musicianship
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Colleagues from Essex Music Education Hub, Chelmsford Teaching Schools Alliance and London Music Masters share some of the challenges of delivering an EYFS programme during the pandemic and the opportunities that arose to rethink and reshape the project in response to the emerging context. Read more (4 min read)

Pupils take part in the Teach-Make programme. Courtesy of Imagineer Productions and Highly Sprung Performance.

Teach-Make
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Colleagues from the Teach-Make partnership discuss their programme working with teachers from across seven schools in Coventry using arts-based approaches within the context of real world problems to support outcomes in English, Science and Mathematics. Read more (2 min read)

News, views and resources

Understanding blended learning
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Hannah Tyreman, Head of Learning Design at the Chartered College of Teaching and a member of the TDF Advisory Group, talks about what we mean by blended learning and how to construct an effective hybrid approach in arts-based professional development. Read more

Embracing evaluation for the right reasons
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In this blog for the Centre for Cultural Value, Holly Donagh, PHF's Director, Strategic Learning, Insight and Influence, reflects on some of the challenges associated with evaluation, as well as what can be done to re-frame the discussion. Read more

Inequity and TDF: Webinar
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As part of the cohort learning programme for rounds 3 and 4, PHF hosted a webinar focusing on educational inequity within the context of the TDF. The session, chaired by Professor Becky Francis from UCL brought together several experts including Gina Cicerone from the Fair Education Alliance, Dr Muna Abdi, Vicky Storey and Sabrina Edwards to help those involved in a TDF programme to begin thinking and understanding more deeply about intersectional inequity. Watch the webinar

What do you think of the TDF newsletter?
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The Teacher Development Fund (TDF) supports the delivery of effective arts-based teaching and learning opportunities in the primary classroom. The Fund promotes partnerships between primary schools and arts/cultural organisations, supporting teachers and school leaders to develop the necessary skills, confidence and experience to embed learning through the arts in the curriculum. For more information on our learning from TDF including reports and case studies, visit the PHF website

#PHFTDF

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Teacher Development Fund Newsletter | The return of almost normal | Edition 5 - Autumn 2021

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Blended learning: Evidence and research

If you want to know more about hybrid models of professional learning, check out this helpful set of resources, created to support Round 4 TDF projects to develop blended approaches to CPDL and curated by Hannah Tyreman, TDF Advisory Board member and Head of Online Learning and Community for the Chartered College of Teaching.

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Teacher Development Fund Newsletter | Towards a new normal | Edition 4 - Summer 2021

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Blended learning: Evidence and research If you want to know more about hybrid models of professional learning, check out this helpful set of resources, created to support Round 4 TDF projects to develop blended approaches to CPDL and curated by Hannah Tyreman, TDF Advisory Board member and Head of Online Learning and Community for the Chartered College of Teaching.

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Welcome to the Spring term edition of the Teacher Development Fund (TDF) Newsletter. This time last year we were at the beginning of the pandemic, on the verge of the first lockdown and only just becoming aware of the scale of the challenge and change ahead. The last twelve months have presented the most profound challenges, making us reflect on what we value as individuals and professionals, as well as the values of the systems we live and work within. During this turbulent time, we have all had to do things differently, becoming learners in a complex and uncertain landscape, in order to continue supporting the children and young people, teachers, schools and organisations with whom we work.
As we begin to move out of the current lockdown, we explore how colleagues in both the arts and education sectors have adapted and responded over the course of the year. Colleagues from Prime Theatre, a Swindon-based organisation from the TDF Round 2 cohort, discuss the challenges and opportunities that have emerged. We also hear from the Director of the London South Teaching School Alliance as she looks back over their approach to continuing professional development and learning (CPDL) a year after finishing their TDF programme. This term’s Reflection comes from Advisory Group member, Steve Moffitt who considers how the arts sector, and in particular his organisation, A New Direction, has shifted their practice to continue working with schools during lockdown and anticipates the challenges and opportunities ahead.

Confident Creators. Photo: Brixton Learning Collaborative.

Reflections

Resetting.
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Covid-19 has caused huge disruption to our lives, our professions and our learning. The pandemic has also had a significant impact on cultural education and how this is likely to be delivered in the future. Advisory Group member and CEO of A New Direction, Steve Moffitt reflects on the challenges and opportunities for his organisation over the last year. Read more

Project Spotlight

Prime Theatre drama lesson in action with pupils. Photo: Prime Theatre.
Developing children’s vocabulary through drama and performance poetry
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The White Horse Federation, a Multi-Academy Trust of 32 schools, joined forces with Prime Theatre to improve pupils’ literacy through drama and performance poetry. Dr Nicholas Capstick OBE, the Trust’s CEO, and Mark Powell, Prime Theatre’s Artistic Director, share the challenges they faced as they launched their joint TDF programme, the ways they’ve adapted delivery amidst Covid-19 and their plans for the future. Read more

All the School’s a Stage: Embedding drama techniques across the curriculum
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Sarah Seleznyov, Director of the London South Teaching School Alliance, describes the learning journey undertaken by artists and teachers over the course of their TDF programme, All the School’s a Stage, which finished in Spring 2020. Read more

News and Updates

Confident Creators. Photo: Brixton Learning Collaborative.
Round 4 of the Teacher Development Fund
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Round 4 of the Teacher Development Fund, focusing on blended approaches to CPDL, launched in September and the selection process is now nearing its conclusion. Successful applicants will be announced later in the month and we look forward to welcoming more schools and arts organisations into the programme.

Creativity Exchange
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Launched at the start of February, the Creativity Exchange is a platform for school leaders, teachers and cultural organisations to share ideas about how to teach for creativity and develop young people’s creativity at and beyond school.
The Creativity Exchange is a bridge between the recommendations that came out of the Durham Commission, a collaboration between Durham University and Arts Council England to understand the role creativity should play in the education, and the launch of the Creativity Collaboratives programme later in 2021, a national network of schools working together to develop a model to nurture creativity across the curriculum.

Get involved by contributing your ideas to the platform, signing up to the newsletter or joining the discussion using the hashtag #creativityexchange.

Resources

We have collated below various content recommended by the PHF Team and members of the Fund's Advisory Group, which we hope will be of interest to TDF colleagues.

Chartered College of Teaching Resources
The Chartered College has recently published Education in times of crisis: Effective approaches to distance learning. This report, which is open access, summarises some of the existing research literature on effective approaches to distance learning with a particular focus on students where this may be most challenging – including students with SEND and younger students.
In addition, TDF Advisory Group member and Head of Online Learning and Community for the Chartered College, Hannah Tyreman, has published this useful article focusing on accessibility in online design.

GEM Case Studies: Remote Learning
The Spring edition of GEM’s Case Studies focuses on the arts and heritage sectors’ response to Covid. Featuring 14 case studies from across the UK, each highlights the innovative online practice adopted by museums, galleries and other cultural organisations over the last year. GEM is a membership organisation for anyone interested in learning through museums, heritage and cultural settings.

NSEAD: AD Magazine
The National Society for Education in Art and Design (NSEAD) is making the latest edition of their highly regarded publication, AD magazine, open access. Articles include a look at how the National Gallery approached online activities for schools and teachers and an insight into how one school’s focus on digital literacy is improving access to new technologies within a visual arts context.

Creativity and creative thinking

Durham Commission Literature Review
Using the findings of studies published between March and November 2020, this literature review seeks to understand the ways in which Covid-19 impacted the education environment and schooling context for children and young people between the age of 4 and 18 in England. The review then focuses in on how these changes may have impacted on factors which are important for fostering creativity and creative thinking, and on schools’ and other organisations’ ability to teach for creativity.

Inequality and barriers to learning

LondonEd
This theme for this year’s LondonEd conference was tackling inequalities in the education system. Each day of this week-long event had a different focus from race and ethnicity to poverty and class with speakers highlighting both the impact on learning and effective practice to mitigate barriers. Talks and seminars will be available on the website by the middle of March. LondonEd is a collaborative project led by the three London EEF Research Schools, Rathfern Primary, a Chartered College Hub, and UCL Institute of Education's Research and Development Network.

Centre for Literacy and Social Justice
The Open University, has recently launched the Centre for Literacy and Social Justice. Led by an  interdisciplinary team including Professor Teresa Cremin, Chair of the TDF Advisory Group, the Centre is supporting teachers in building upon the cultural, linguistic and social assets that children bring to school and will advance this work through research that contributes to de-colonising education and reframing the curriculum.

The Teacher Development Fund (TDF) supports the delivery of effective arts-based teaching and learning opportunities in the primary classroom. The Fund promotes partnerships between primary schools and arts/cultural organisations, supporting teachers and school leaders to develop the necessary skills, confidence and experience to embed learning through the arts in the curriculum. For more information on our learning from TDF including reports and case studies, visit the PHF website

#PHFTDF

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Teacher Development Fund Newsletter | Resetting | Edition 3 - Spring 2021

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Welcome to the second edition of the Teacher Development Fund (TDF) Newsletter. These termly bulletins aim to share learning and connect our community of teachers, artists and senior leaders delivering TDF programmes across the UK. As we all enter the second phase of the various versions of national restrictions, connection and community are more important than ever. We know that in every TDF programme there are teachers and artists working together in the most challenging of circumstances to create the very best opportunities for their pupils. This newsletter shares some of these stories whilst also providing links to resources and materials that may be useful in your TDF programmes.

Reflections

Bubble Life - a Year 6 student's perspective on lockdown from Teaching Things Differently, The Forge. Photo: St Joseph's Catholic Primary, Stanley.

Towards a better future
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Holly Donagh, Director, Strategic Learning, Insight and Influence for Paul Hamlyn Foundation, reflects on the many challenges experienced by children and young people over the last few months and urges us to use our learning from this period as a catalyst for change as we emerge into the future. Read more

Project Spotlight

Trapped - a Year 6 student's representation of lockdown from Teaching Things Differently, The Forge. Photo: St Joseph's Catholic Primary, Stanley.

Teaching Things Differently: Using photography to support children's creative writing skills
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The Forge is an arts-in-education agency based in County Durham. They work with schools from the North East’s most disadvantaged communities, co-creating arts-based programmes to support children’s learning. Beverley Briggs, Creative Producer for The Forge, talks about their TDF project - a flagship collaboration that explores how photography can be used to offer students a gateway into creative writing and to re-imagine literacy lessons. Read more

Confident Creators. Photo: Brixton Learning Collaborative.
Confident Creators: Developing growth mindset through the arts
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The Brixton Learning Collaborative and the Windmill Cluster are two groups of state schools based in Brixton, South London. Pupil Premium numbers are high, and children and families face significant challenges: poor housing, high mobility and crime. Schools work together to provide opportunities for teachers, children and families to develop and thrive, developing excellent partnerships with local and national organisations, trusts and foundations. We have been delighted to work with Pegasus Opera and visual artist Liz Atkin on this project. Partnership Managers, Jenny Smith and Rachel Thomas, describe their Confident Creator journey. Read more

News and Updates

Apply to the Teacher Development Fund
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Applications are open to the latest round of the Teacher Development Fund – so do spread the word to the schools and organisations in your area. This year, the Fund will have a particular focus on exploring how blended approaches, combining digital and face to face delivery, can enhance teacher CPDL in arts-based learning. Watch our webinar above to learn more about blended approaches and to get a sense of what we’re looking for in applications. Apply by 20 November

Investing in Evaluation
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As part of the support in place for the third-round grantees, PHF has appointed Pat Cochrane and Vicky Storey to the role of Evaluation Support Consultants. Here they describe their role and outline some of the guidance available to the new round of TDF grantees. Read more

TDF Revisited
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Colleagues from the pilot round of TDF have recently contributed blog posts to the PHF website sharing some of their recent work and reflecting on both the benefits and challenges of working with pupils and teachers online. The first article, The Benefits of Blending, written by Nichola Clark from IntoFilm explores the integration of online and face to face delivery within their new CPDL programme, Film for Learning. TDF Advisory Group member Johanne Clifton contributes the second post sharing her own digital learning journey as she takes on a new role as Head of Curriculum and Virtual Learning for the Elliot Foundation.

Resources

As almost all TDF projects have moved part or all of their activity online, we thought it would be useful to share some of the latest research and content with you to help in your approach to virtual and blended delivery. For a full list of our suggested resources, including many recommended by TDF Advisory Group member Hannah Tyreman from the Chartered College, visit the TDF pages of the PHF website.

The Teacher Development Fund (TDF) supports the delivery of effective arts-based teaching and learning opportunities in the primary classroom. The Fund promotes partnerships between primary schools and arts/cultural organisations, supporting teachers and school leaders to develop the necessary skills, confidence and experience to embed learning through the arts in the curriculum. For more information on our learning from TDF including reports and case studies, visit the PHF website

#PHFTDF

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Teacher Development Fund Newsletter | Towards a better future | Edition 2 - Autumn 2020

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Welcome to the second edition of the Teacher Development Fund (TDF) Newsletter. These termly bulletins aim to share learning and connect our community of teachers, artists and senior leaders delivering TDF programmes across the UK. As we all enter the second phase of the various versions of national restrictions, connection and community are more important than ever.

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Welcome to the first edition of our Teacher Development Fund (TDF) newsletter. By sharing what we’re learning we hope to connect the community of teachers, school leaders and artist practitioners working together to embed arts-based learning in the primary curriculum.

For our first issue, we are focusing in on three of the projects from the first and second rounds of the programme showcasing their work to date and their plans for post-lockdown delivery. We are also taking the opportunity to introduce the TDF Advisory Group and, in our Resources section, share some of the stories, research and articles they've found useful or inspiring during this period of lockdown. We are delighted to launch our newsletter with a welcome from Professor Teresa Cremin, Chair of the TDF Advisory Group.

Reflections

Photo: Jane Ryder/Sidegate Primary School.
Welcome
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At this challenging time this newsletter offers us a chance to connect as members of the TDF community. Whether you are a teacher, school leader, an artist practitioner, advisory group member, consultant or PHF staff member, this newsletter is for you! We are all committed to the arts, to high-quality CPDL that helps professionals embed learning through the arts and we want in particular to support young learners experiencing disadvantage. Read more

Project Spotlight

“Embedding learning through the arts is enriching children’s lives and helping them connect to the wider world and their communities. The work we are doing with Paul Hamlyn Foundation is breathing life, creativity, passion and a love for the arts in all its forms into our schools and communities”
Stephen Chamberlain, CEO, Active Learning Trust

Active Learning in and through the arts
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Jane Ryder, Arts and Culture Lead for Sidegate Primary School and TDF Lead Teacher for the Active Learning Trust, describes the Trust’s TDF journey and shares some of the early findings of their programme, which focuses on the use of drama and dance to support the development of vocabulary. Read more

Photo: Voices Foundation and David Ross Education Trust.
Embedding singing as an agent for overall school improvement
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The Voices Foundation is an award-winning national charity whose mission is to improve musical, educational and personal outcomes for children and young people through singing. The organisation achieves impact through the side-by-side development of teachers to build their knowledge, skills and confidence in how to teach music effectively. Voices Foundation Project Manager, Katie Elphick describes their TDF partnership with schools from the David Ross Education Trust (DRET). Read more

“The project has raised some really interesting challenges - balancing creativity, budgets, technology, teachers’ understanding, plus producing something that can work for an entire class of mixed abilities has been an eye opener.”
Ted Thorpe, Digital Artist / Real Ideas Organisation

Pens and Pixels
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Pens and Pixels, a collaboration between Real Ideas Organisation (RIO) and the Learning Academies Trust in Devon, explores the impact of digital art on children’s writing. Gary Futcher, Programme Lead for RIO talks about their project from the launch in September 2019 to the shift online in March 2020 and their plans for delivery in year two. Read more

News and Updates

Photo: TDF Cohort Learning Day/Round 3
Meet the latest TDF Projects
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PHF is delighted to announce the launch of six new TDF projects for the period September 2020 to July 2022. This third cohort brings the total number of partnerships, including those involved in a pilot round, to 26. This new round extends the reach of TDF from Belfast to Yorkshire via Milford Haven and the Midlands.

Online Safety
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As part of its sector support in these challenging times, PHF has added a new Online Safety resource to its website. The guidance has been created to support organisations in producing robust policies and procedures for working with children and young people online.

Resources

In this first edition of the newsletter we have asked some of the members of the TDF Advisory Group to share with us research, articles and other content that they've found interesting, useful or inspiring during this lockdown period. The advisors play a key part in the development of the Fund and meet regularly to steer the direction of TDF and provide advice and guidance to the PHF team. The group is chaired by Prof Teresa Cremin and comprises representatives from both the arts and education sectors: Johanne Clifton, Pat Cochrane, Steve Moffitt, Prof Tanya Ovenden-Hope, Vicky Storey and Paul Reeve. Read more

The Teacher Development Fund (TDF) supports the delivery of effective arts-based teaching and learning opportunities in the primary classroom. The Fund promotes partnerships between primary schools and arts/cultural organisations, supporting teachers and school leaders to develop the necessary skills, confidence and experience to embed learning through the arts in the curriculum. For more information on our learning from TDF including reports and case studies, visit the PHF website

#PHFTDF

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Welcome to the Teacher Development Fund Newsletter | Edition 1 - Summer 2020

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Welcome to the first edition of our Teacher Development Fund (TDF) newsletter. By sharing what we're learning we hope to connect the community of teachers, school leaders and artist practitioners working together to embed arts-based learning in the primary curriculum.

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[Report] Teacher Development Fund pilot programme 2016–18 evaluation (CUREE)

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[Report] Teacher Development Fund pilot programme 2016–18 evaluation (CUREE)

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The Teacher Development Fund aims to enable teachers and school leaders to develop their skills, knowledge and experience in order to embed learning through the arts in the primary curriculum. This report by the Centre for the Use of Research and Evidence in Education gives an overview of learning over the course of the two-year pilot programme and the experiences of those involved.

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Teacher Development Fund pilot programme 2016-18 evaluation - Paul Hamlyn Foundation

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The Teacher Development Fund aims to enable teachers and school leaders to develop their skills, knowledge and experience in order to embed learning through the arts in the primary curriculum. This report by the Centre for the Use of Research and Evidence in Education gives an overview of learning over the course of the two-year [...]

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The Teacher Development Fund (TDF) aims to enable teachers and school leaders to develop their skills, knowledge and experience in order to embed learning through the arts in the primary curriculum. As part of its evaluation of the TDF pilot programme, the Centre for the Use of Research and Evidence in Education carried out case studies of four individual schools participating in this programme.

This study focuses on the role teachers can play as 'arts leaders' and examines how arts-based learning can support pupils experiencing disadvantage.

CUREE's full evaluation of the two-year pilot programme is available here.

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Case study: St Patrick's & St Brigid's Primary School, Full Steam Ahead (Ballycastle, Northern Ireland) - Paul Hamlyn Foundation

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The Teacher Development Fund (TDF) aims to enable teachers and school leaders to develop their skills, knowledge and experience in order to embed learning through the arts in the primary curriculum. As part of its evaluation of the TDF pilot programme, the Centre for the Use of Research and Evidence in Education carried out case [...]

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[Blog] CLA/ to launch the first round of TDF (Catherine Sutton)

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[Blog] CLA/ to launch the first round of TDF (Catherine Sutton)

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Paul Hamlyn Foundation's new Teacher Development Fund

08 February 2018
Embedding learning through the arts in the primary curriculum
A Blog from Catherine Sutton, Senior Grants Manager, Education and Learning through the Arts, at Paul Hamlyn Foundation about their new Teacher Development Fund.

Paul Hamlyn was an entrepreneurial publisher and philanthropist with a belief in social justice, committed to offering new opportunities for people experiencing disadvantage, challenging prejudice and opening up the arts and education to everyone.

Paul Hamlyn Foundation (PHF) currently supports work in six key areas, one of which is Education and Learning through the Arts. With a focus on supporting learners experiencing disadvantage, we are funding a wide range of projects which explore how arts-based pedagogies can deliver excellent teaching and learning across the curriculum, achieving positive outcomes for pupils' engagement, attainment, personal and social skills.

Pilot programme

In 2015, we began a pilot programme looking at how PHF might directly support the development of primary school teachers, building their skills, confidence and experience so that they were able to embed arts-based approaches into their everyday practice. Not only did we want to develop individual teachers, we aimed to support whole schools to embed arts-based learning across the curriculum.

Partnering with the Centre for the Use of Research and Evidence in Education (CUREE) we initially spent time reviewing current thinking about what constitutes high quality and effective Continuing Professional Development and Learning (CPDL) for teachers.

The Teacher Development Trust's Developing Great Teaching, 2015 and the Department for Education's Standard for Teachers' Professional Development point out some key features of successful CPD including duration, depth, involvement of specialists and, crucially, the importance of teachers reflecting on the impact of new practices on their pupils. With these principles in mind PHF funded seven pilot projects across the UK.

Over the last two years these organisations, ranging from Into Film, to Creative Scotland and the RSC have been exploring different models for teacher CPDL. It's been a fascinating process, involving challenges and a lot of reflection with our grantees: How can arts/cultural organisations best deliver teacher CPDL? Do we perhaps know rather more about how to work with pupils than we do about how to work with teachers? What skills do artist practitioners need to support teachers effectively? Do we have the right understanding of the education landscape and the right language to be able to support primary schools around curriculum development?

From these pilots PHF's new Teacher Development Fund has emerged. Each year we expect to give grants of up to £ 150,000 to approximately five projects which will run for two academic years. We are looking to support strong partnerships of arts/cultural organisations and up to ten schools; either an arts/cultural organisation or a school can be the lead applicant.

Key principles

Through our pilot projects we've identified four key principles for the new fund:

CPD or CPDL? We want to support projects whose CPDL approaches are consistent with the evidence about what makes a difference for pupils, as well as educators. We define CPD (continuing professional development) as the specific support offered to teachers, for example a training day, and CPDL as the processes and activities that they undertake as they participate in and respond to CPD, use new knowledge and skills in their teaching, and understand the impact this may have on their pupils.

School leaders as lead learnersEvidence from our pilot projects tells us that the greatest impact has been achieved when school leaders are positioned as lead learners and closely involved in planning, delivery and reflection activities. By school leaders, we don't just mean head teachers, but also others influencing curriculum planning such as subject leads or phase leads.

Role of Artist PractitionersA TDF project is a joint inquiry at the heart of which is the relationship between schools and artist practitioners. The role of artist practitioners is to facilitate CPDL for teachers and school leaders, supporting them to become autonomous in their delivery of arts-based learning and to achieve a sustainable approach to embedding learning through the arts in the curriculum.

Reflect, reflect, reflect
Strong reflective practice should be embedded in the CPDL process. Our pilot projects have shown that it is crucial to have a clear process for reflecting on the effectiveness of the CPD input, how the work is impacting on teachers' practice and the outcomes for pupils' learning.

www.phf.org.uk
More information

For more information about PHF's Teacher Development Fund, visit www.phf.org.uk/Funds/TDF where you'll find a wealth of films, blogs and other information illustrating the purpose and priorities about the fund and explaining what we've learned during our pilot projects.

The next deadline for applications is 23 rd March, for projects starting in Autumn 2018.

Photo credit: School leader observes film and literacy work in the classroom

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Paul Hamlyn Foundation's new Teacher Development Fund

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08 February 2018 Embedding learning through the arts in the primary curriculum A Blog from Catherine Sutton, Senior Grants Manager, Education and Learning through the Arts, at Paul Hamlyn Foundation about their new Teacher Development Fund.

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From Castle Hill /Parallel Rhythms [Round 6]

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From Castle Hill /Parallel Rhythms [Round 6]

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Project Newsletter/Autumn&Spring 23/24