Creativity, Collaboration and CommunicationInspection Issues for Art, Craft & Design

Ian Middleton HMISpecialist Subject Adviser

Buckinghamshire Art, Craft and Design Education ConferenceGreen Park CentreFriday 24th March 2006

Inspection Issues

Overall Quality of Provision

Inspection Issues

Overall Quality of Provision

The subject has a slightly higher proportion ofGood, Very good and Excellent provision inrelation to foundation subjects overall in :TeachingAchievement of pupilsBehaviourQuality & range of learning opportunitiesCurriculum breadth, balance & relevance

However, Subject contribution to pupil’s personal, social, moral, spiritual and cultural development is higher in music, physical education, history, religious education and EnglishQuality and use of ongoing subject assessment are good in a third of schools, unsatisfactory in a fifthLeadership and management of art are good in four schools in ten, unsatisfactory in one in eight

Inspection Issues

Present Strengths; Future Opportunities

Foundation stage creative development captures contribution of visual arts/ Teaching for creativity widely variable

Creative curriculum design in KS1 & KS2 provides sustained & enriched art experience/ Teaching formulaic & outcomes predictable where schemes of work lack ownership

The distinctiveness of teaching & learning in art & design underpins pupil motivation in KS3/ Progression in subject knowledge, skills, understanding, limited by transition KS2/3/4

Specialist strengths of teachers used effectively in KS4; high GCSE achievement/ Narrow curriculum; craft, design, creative use of ICT underdeveloped; boys underachieve

Engagement with contemporary artists and life drawing particularly impact on depth post-16/ Specialist teaching, resources and accommodation insignificantly different from KS4 in some cases

Vocational links integral to teaching and learning a strength of college provision post-16/ Shortcomings in quality and range of drawing skills

Inspection Findings

Foundation Stage

Strengths:Visual Arts feature well in creative development.

Weaknesses:Teaching for creativity is widely variable.

Key Stage 1 Observational drawing and painting mixtures

Key Stage 1 Mark making connected with investigating artists and exploring printmaking

Inspection Findings

Key Stages 1 & 2Strengths:Inspirational subject leadershipCreative curriculum designDistinctive teaching and learning

Weaknesses:Monitoring unrelated to CPDOutcomes predictableAssessment insufficiently used to respond to individual needs

Key Stage 2 Cross-curricular starting points for work in 2D and 3D applying observation & imagination

Key Stage 2 Impasto seascapes and ‘larger than life’pastel drawings from found beach objects

Inspection Findings

Key Stage 3StrengthsDrawing/2D skills reinforced wellUse of artists, museums and galleries increasingSuccessful engagement with aspects of art, craft, design from different cultures.Assessment practice good in providing individual feedback to pupils.

Key Stage 3 Designing and making for a purpose inspired by multicultural understanding

Key Stage 3 Bridging project inspired by locality, exposing confidence in research and different art media

Inspection Findings

Key Stage 3Weaknesses:

Progression unplannedExperience of artists, museums and galleries rarely built upon long termNarrow range and use of cultural images and artefacts Thoroughness and constructiveness of assessment in relation to progress across the key stage is a weakness

Inspection Issues

Creative teaching & learning ?

Where pupils develop the confidence to work creatively teachers display particular characteristicsThe report ‘Expecting the Unexpected’ (HMI 1612), taking the definition of creativity used in the NACCCE report ‘All Our Futures: Creativity, Culture and Education’, observed that teachers who inspire creativity have :

Clear understanding of what it means to be creative ;“Although not always able to put this understanding into words, they can often, if appropriate, model the creative process for pupils with all the attendant risk-taking this can involve”“On the other hand, a display of artistry can inhibit pupils’ creativity”

Good subject knowledge ;“Where creative work was no more than satisfactory, teaching constrained rather than liberated pupil’s imagination; pupils had either insufficient knowledge or skill to fashion their ideas successfully” A broad range of pedagogical skills to foster creativity in all abilities Environments in which creativity is provoked, recognised and celebrated Recognition that creative work often needs unbroken time to develop An outward-looking perspective, recognising the contribution of external agencies and individuals Subject identity which flourishes in difference rather than imposed commonality

Inspection Issues

Creativity, Collaboration and Communication

Excellence & Enjoyment has encouraged schools to take a fresh look at their curriculum, timetable and organisation of the school day and week. Schools are encouraged to develop their distinctive character and take greater responsibility for the curriculum through creative and innovative approaches. Not all schools have responded in practical ways to this challenge, but changes in some schools include:

•Timetabling different subjects between literacy and numeracy•Introducing subject-specific theme days and activity weeks•Using specialist teaching across a number of classes•Employing other adults, for example artists•Linking subjects together

Inspection Issues

‘Teaching for Creativity is widely variable’

Where creativity is evident teachers:

•Use open-ended questioning frequently•Encourage pupils to think laterally and beyond the literal•Make connections to apply previous knowledge•Provide choices, eg. to present work in different ways•Use prompts to enable pupils to discover for themselves•Use several examples to inspire rather than resolve•Make opportunities to collaborate•Select subject matter that provoked imagination

Inspection Issues

‘Teaching for creativity is widely variable’

Subject specific concerns:

•Art, Craft & Design rarely shared as an example of creative development where ‘risk taking’ is evident •Creativity often undefined within subject and across creativity days and weeks•Relationship between art ‘events’ and long term planning insecure•Roles of teacher, support staff, artist unclear•Linkage between long gaps in subject work underdeveloped•Art, Craft & Design supporting rather than contextualising other areas of learning

Inspection Issues

‘Teaching for creativity is widely variable’

Inspector’s Guidance (HMI 246): What to look for in art & design lessons ;

“are pupils making their best efforts in understanding concepts and techniques…

are pupils persistent and evaluative in exploring the boundaries of creativity that different media can sustain ?”

“look beyond the surface when evaluating teaching that has positive featuressuch as good relationships…..it may lack rigour or depth, a command of the subject, or be badly matched to the pupil’s needs, with the result that learning is not as good as it should be. This might happen where pupils have little scope for personal, expressive or imaginative responses because outcomes are too closely prescribed”

How creative are teaching, learning and outcomes in art, craft and design?

How do you know? What is the evidence?

Inspection Issues

Progression to accreditation remains limited to a minority and high achievement strongly biased to girls

Inspection Issues

Progression of skills, knowledge, understanding ?

Inspection evaluates progression through:

Learning about new skills, knowledge, understanding, conceptsDevelopment of a skill or aspect of subject knowledge, or understanding a concept in greater depthApplication of existing skills, knowledge, understanding, concepts in unfamiliar contexts

Transition within and between schools remains a barrier to pupils’ individual progression.

There are good examples where the objectives of the subject and needs of the individual are reconciled through:

The continuous use of sketchbooks and journalsUse of ICT to share creative processes and outcomes Assessment led by personal targets matched to external objectivesCollaborative projects involving mixed age groups of young artistsA shared curriculum focus, eg. drawing across the curriculum/across phases, shared artist residency or gallery visit

Inspection Issues

Progression of skills, knowledge & understanding?

Achievement & standards are evaluated using a wide and balanced evidence base: visual, oral, written, statistical.

Inspection reports frequently identify the strengths in pupils’ skills, knowledge and understanding in art & design as:

Handling two-dimensional media with care Exploring colour, line, tone, patternRecording observations through drawingCreating visual composition imaginativelyConnecting the work of artists to own work by what artists made

A smaller proportion refer to:

Expressing imagination through use of two-dimensional mediaExploring feelings/responding to issuesResolving problemsCreating structure, form, investigating spaceConnecting the work of artists by learning about how they worked

A very small proportion refer to:

Working collaborativelyHandling craft processes or designingExploring mixed-mediaUsing ICT creatively in still or moving imageryConnecting the work of artists by analysing why their work evolved

Inspection Issues

Progression through depth, breadth, choice & diversity?

Visual elements the basis of foundation stage experience in meeting early learning goals.

Balance increasingly achieved in KS1 & KS2 through strategic use of artists, particularly crafts-related. Some effective links with other subjects and use of visits. Sketchbooks show range of research and recording skills.

2D & 3D experiences at KS3 include widening interpretation of 3D media, although digital media used as a creative medium in a minority of schools. Use of living artists and work with galleries patchy. Pupils very positive about the subject although significant proportion unconvinced about personal relevance at KS4.

Unendorsed courses popular at KS4 although drawing and painting predominates. Limited range of artists, linked to areas of study, chosen by teachers & pupils. Gallery visits common: predominantly permanent works. Under one third using new technologies regularly. Applied courses show good use of additional time by art & design students. Work related element weaker.

Conceptual work increasing post-16 stimulated by contemporary art. Critical/contextual dimension weaker.

Inspection Issues

Progression in learning more widely through the subject?

Where art & design has made a significant contribution to school improvement generally particular characteristics are evident:

The report ‘Improving City Schools’ (HMI 1709) highlighted:

The importance of working with others:“Work with professional artists and visits to galleries have a profound influence, raising levels of motivation, aspiration and achievement”The personal commitment of teachers:“The most effective teachers had a personal commitment to high standards in their own arts work, attending arts functions and courses in their own time”The ability of teachers to model skills and techniquesThe purposeful nature of extra-curricular projectsThe early engagement of pupils in challenging activityThe frequent, positive feedback of teachers and peersTechnical vocabulary used and meanings exemplified

Collaboration between schools and contemporaryartists, craftmakers, designers in the locality

Inspection Issues

Impact of the national strategies on progression?

The impact of the Key Stage 3 Strategy in the subject is insignificant. Yet nationally there is general improvement in an area of subject specific concern: boys’ performance:

‘The quality of pupil’s work, particularly that of boys, is improving as pupils have greater exposure to the strategy. Their learning skills are developing, notably in oral work, research, and collaborative working”Evaluation of the Key Stage 3 Strategy (HMI 2090)

The national curriculum levels achieved by pupils in other foundation subjects are improving at a faster rate at Key Stage 3.

How effectively are skills, knowledge and understandingin art, craft and design developed progressively?

How do you know? What is the evidence?

Inspection Issues:

School & Subject Inspection; A Context of Change

• Familiar school and subject inspection methodology 1993-2005

ObservationAnalysisJudgementCommunication

• Institutional Inspection of all schools from September 2005

Overall effectivenessAchievement & standardsQuality of ProvisionLeadership & Management

Based on school self-evaluation (SEF)Changes to grading and school categorisation

•Subject Inspection by school sampling from September 2005Subject inspection using common inspection frameworkSubject specific issues pursuedSurveys of sample schoolsCommissioned surveysRapid response inspection

Inspection methodology

Self-evaluation (SEF)

A fundamental part of the inspection process; the quality of self-evaluation is reported on.‘How do you know ?’ and ‘What are you doing to improve ?’ are key questions.

•Unique characteristics of your school/departmentCharacteristics of learners; distinctive aims & features of subject/department; contextual issues acting as aids or barriers to raising performance; innovations that you would like scrutinised; priorities in your improvement/development plan ?

•Views of learners, parents/carers and other stakeholdersMethods of gathering views; what are their views about standards, personal development and well-being, quality of provision; how views are shared; examples of actions taken based on their views ?

•Achievement & standardsStandards reached by different groups of learners in different courses/over time; standards of current work in relation to targets; learners’ progress relative to starting points and capabilities ?

•Personal development and well-being of learnersProgress of learners’ personal development (enjoyment, attitudes, behaviour, attendance, SMSC development); health and safety; contribution to the community; preparation for future economic well-being ?

•Quality of provisionQuality of teaching and learning; quality of curriculum and other activities; quality of care, guidance and support for learners ?

•Leadership & managementEffectiveness and efficiency of leadership and management ?

•Overall effectiveness and efficiencyOverall effectiveness of provision, including extended services; effectiveness of steps taken to promote improvement; capacity for further improvement; steps that need to be taken to improve provision further ?

Inspection methodology

Self-evaluation (SEF)

A review meeting between subject leader and subject school improvement partner eg. LEA subject adviser, subject peer, SMT, could involve reference to, and exemplification of, the following: Distinctiveness : Opportunities for pupils to learn visually; evidence: explicit use of display to inform, inspire,engage etc. Barriers to improving ICT; evidence: examples of work in school/ other schools demonstrating unrealised potential.Views of stakeholders : Reflections of students at final exhibition ; evidence: video diaries Perceptions of local design company ; evidence: report of work experience placementAchievements : Development of specific skill eg. drawing ; evidence: pupil pursuit, annotated portfolio etc. Achievement in relation to other subjects ; evidence: cross-curricular profile of pupil/homework focus etc.Personal development : Progress in understanding social issues ; evidence: research/expressive response etc. Contribution to community ; evidence: environmental project using re-cycled materials etc.Quality of provision : Development of subject knowledge & understanding ; evidence: evaluated impact of gallery visit etc. Support for gifted & talented ; evidence: evaluation of residential summer school by artist in residence etc.Leadership and management : Management of assessment approaches ; evidence: case study of pupil Y7-11 etc. Leadership of KS3 strategy ; evidence: impact on colleague’s planning, teaching & learning etc. Overall effectiveness : Strategy to improve creative use of ICT ; evidence: powerpoint presentation to governors etc. Transition KS2/3 ; evidence: continuous sketchbooks used as a bridging tool Y6-7 evaluated by pupils etc.

Inspection Programmes

Subject Issues

•Achievement of different groups Priority: boys•Vocational dimension Priority: ICT• Depth & diversity of curriculum Priority: craft & design• Impact of external partnerships Priority: contemporary art/artists• Transition Priority: key stage 2/3 interface• Entitlement Priority: creative development

Inspection Programmes

Subject Issues: Achievement of Boys

Inspection prompts

Achievement & StandardsWhat are the unique strengths & weaknesses of work achieved by boys ?

Quality of ProvisionHow does art teaching impact on the achievement of boys ?How does the learning environment impact on the achievement of boys ?How does the quality of learning contribute to the achievement of boys ?How effective is assessment in improving the achievement of boys in art ?How does the art curriculum impact on the achievement of boys ?

Leadership & ManagementHow effectively does the school analyse the achievement of boys in art ?How has the subject addressed the underachievement of boys in art ?

Inspection Programmes

Subject Issues: Achievement of boys

Hypotheses :Where boys do well

• Imagination and physical challenge is evident, often through ICT,3D & use of large scale• Research skills are explicitly taught and clearly distinguished from homework• Learning environment is stimulating to boys & girls often through stimulus collections, gender-balanced display, workshop rather than domestic character• First hand experiences, particularly linked to making for a purpose, are motivational• Teaching targets progress of boys particularly as pace slows during lessons and little intervention is invited• Materials-based starting points are used as frequently as observational• Individual pupils are known well, boys’ achievement is analysed and different strategies implemented and evaluated

Future Challenges for Art, Craft & Design

Capturing Distinctiveness

Effective teaching and learning in art, craft and design in my primary school

•Local resources linked to experiences and interests of the pupils

•Learning objectives illustrated through a range of examples and provocative demonstration

•Specialist words used and explained with confidence

•High creative expectations of pupils

•Sketchbooks developed well and used across the curriculum

•Scale and ambition of work more important than time and space

•Progression planned, monitored and evaluated

•Art curriculum and extra-curricular enriching and challenging

Future Challenges for Schools

A Distinctive Role for Art, Craft & Design Education?

“Education, as far as possible, needs to be broad and balanced, not just to serve some utilitarian end, but as an end in itself “

“High expectations are infectious as they enthuse and motivate teachers, parents and crucially, pupils. Unless and until that sense of ambition permeates every school in England, we will be destined to condemn too many young people to a life of unfulfilled potential and even failure “.

Her Majesty’s Chief Inspector of Schools

Future challenges for Art, Craft & Design

Building on success with shared vision & visibility

Strengthening entitlement To curriculum breadth, depth, choice and diversity progress individually work with a contemporary artist visit an art gallery appropriate resources

Re-thinking relevance To pupils’ personal development pupils’ vocational opportunities different groups of pupils, for example boys creativity, thinking, communication more widely

Developing personally & professionally To apply and deepen teachers’ personal strengths extend skills, knowledge & understanding teach for creativity, thinking, communication experience vocational opportunities

What are the distinctive achievements and specific barriers to improvement in Art, Craft and Design?How do you know? What is the evidence?

Key Questions for Subject Self-Evaluation

•How creative are teaching, learning and outcomes in Art, Craft & Design?

How do you know? What is the evidence?

•How effectively are skills, knowledge and understanding in Art, Craft & Design developed progressively?

How do you know? What is the evidence?

•What are the distinctive achievements and specific barriers to improvement in Art, Craft & Design?

How do you know? What is the evidence?