Cultural Campus:

Introduction ......................................... 2

Activities & Artifacts ............................ 2

Time & Space ..................................... 4

Learning .............................................. 6

Legacies & Future Aspirations ............ 8

Evaluation of a collaborative learning project between Southbank Centre, the BFI, Lambeth CLC and Telferscot Primary School: January - March 2011

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In  May  2010  the  Assistant  Head  of  Telferscot  School,  Fran  Welch,  attended  a  meeting  at  Southbank  Centre  in  answer  to  their  invitation  for  Lambeth  Schools  to  be  leading  players  in  a  large-­‐scale  collaborative  learning  project.    Following  the  success  of  the  pilot  residential  in  summer  2009  another  collaboration  was  planned  between  Southbank  Centre,  the  BFI,  Lambeth  City  Learning  Centre  (CLC)  and  two  Lambeth  Schools.  This  report  focusses  on  the  involvement  of  Telferscot  Primary  School  in  Balham.

Beverley  Keyte  and  her  Year  4  class  were  selected  to  participate  and  spend  two  days  a  week  in  and  around  Southbank  Centre  and  the  BFI  for  the  Qirst  6  weeks  of  the  Spring  term  2011.  The  idea  was  for  the  children  to  experience  the  entire  Southbank  environment  as  their  ‘classroom’  for  this  period.  This  report  is  a  record  of  the  learning  outcomes  and  the  wider,  social  and  cultural  beneQits  of  this  partnership  between  pedagogy  and  the  arts.

Southbank  Centre  discussed  with  Fran  their  events  diary  for  2011  so  that  Telferscot  might  weave  their  activities  within  this  framework.  The  60th  anniversary  of  The  Festival  of  Britain  seemed  an  appropriate  and  timely  event  at  which  to  showcase  the  children’s  work  and  in  liaison  with  Bev,  Hannah  Quigley  at  the  CLC  and  Jessica  Hemming  at  Southbank  Centre,  Fran  drew  up  a  6-­‐week  programme  of  activities  under  the  theme  ‘Feel  the  Beat  of  London  Life’.    She  hoped  this  would  reQlect  the  diverse  footfall  of  visitors  to  the  Southbank  as  well  as  underpin  the  creative  content  for  the  programme  which  was  ultimately  to  provide  a  unique  and  integrated  source  of  inspiration  for  the  children  and  of  ‘possibility  thinking’  for  the  teachers.    By  way  of  introduction,  the  children  were  invited  to  the  BFI  on  10  December  2010  to  watch  Qilms  about  London,  including  William  Raban’s  “Sundial”  (1992);  they  then  produced  poetry  of  their  own  inspired  by  the  capital.

The  programme  united  a  rich  mix  of  technical,  creative  and  pedagogic  expertise  using  a  variety  of  old  and  new  media  and  artist’s  resources,  all  the  while  maintaining  links  with  the  necessary  elements  of  the  national  curriculum  such  as    literacy  (mainly  writing),  ICT  and  its  more  creative  aspects.  Numeracy  was  covered  via  discreet  lessons  delivered  Qirst  thing  on  the  prescribed  Southbank/BFI  mornings.  

This  report  picks  up  the  group  in  the  4th  week  capturing  the  essence  of  the  experience  and  recording  observations.  The  following  page  lists  what  activities  the  children  remembered  looking  back  over  the  preceding  3  weeks  -­‐  

this  information  took  25  minutes  to  elicit  and  a  video  was  taken  of  the  process,  at  the  end  of  which  one  of  the  children  simply  got  up  and  dramatically  exclaimed:  “I  love  life!”  It  was  clear  that  they  were  impressed  with  the  amount  they  had  achieved,  with  more  besides  what  is  listed,  such  as  continual  updating  of  their  journals/sketchbooks,  diary  blog  entries,  photoshop  work  and  podcasts.    Selecting  a  few  of  the  activities  for  further  analysis  will  offer  a  Qlavour  of  the  intricacies  of  planning  and  delivery,  the  commitment  of  all  players  and  the  quality  and  integrity  of  the  children’s  work.

INTRODUCTION

activities & artefacts

“I didn’t even know what canvasses were”

“It was a bit of an adventure”

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Workflow over 4 of the 6 weeks as recalled by the children

This  one  busking  activity  and  the  preparation  that  led  up  to  it  is  an  important  demonstration  of  the  impact  of  collaborative  work  and  the  pooling  of  expertise  to  produce  an  unforgettable  and  levelling  ‘group  moment’  for  the  children  and,  for  some,  a  personally  transformative  moment.    Some  children  

drew  on  resources  they  didn’t  know  they  had  in  a  collective  ‘can  do’  environment,  involving  parties  which  might  be  viewed  by  some  as  disconnected  professional  entities.  This  and  other  media-­‐related  activities,  as  well  as  having  a  strong  literacy  focus,  introduced  skills  highly  pertinent  to  the  contemporary  increasingly  

mediated  world:  communicating,  performing  and  participating  in  a  public  space,  the  operation  of  camera  and  sound  as  well  as  a  heightened  awareness  of  new  and  converging  digital  technologies  to  enhance  their  creations  and  share  them  with  audiences  both  real  and  virtual.  It’s  hard  to  put  a  value  on  an  experience  such  as  this,  for  both  teacher  and  child,  in  terms  of  its  potential  to  increase  conQidence,  expand  perception  and  explore  what  is  possible:  one  child  commented  “I  know  right  now  that  I  want  to  be  a  poet  when  I’m  older.”

Drawing  on  their  particular  interests  and  individual  strengths,  Fran  and  Bev  focussed  on  poetry  and  found  the  RFH’s  Poetry  Library  inspirational  in  this  respect.    The  children  worked  with  Miriam  Valencia  from  the  library  and  considered  existing  poems  about  London;  they  went  on  the  RFH  balcony,  asked  questions  of  the  river  and  collected  words  for  their  poems.  See  footage  here  on  the  school  website.

Later  in  the  programme  they  were  asked  to  write  their  own  poems  entitled:  “At  the  Southbank”  featuring  ideas  they  had  assimilated  from  their  experiences  thus  far.  They  practiced  their  poems  a  number  of  times  in  different  locations,  culminating  in  a  busking  performance  outside  the  RFH  complete  with  microphones,  cameras,  a  raised  platform,  speakers  and  an  appreciative  public.  These  moments  were  captured  by  a  child’s  parent  and  posted  onto  the  school  website.  

Click here for link to school website

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Other  activities  over  the  weeks:

• photography  &  photoshopped  collaged  image  &  ‘surreal’  story

• interviewing  visitors  to  the  Southbank  Centre  with  Easyspeak  microphones

• an  instructional  session  on  the  Gamelan  -­‐  a  room  of  musical  instruments  gifted  by  the  Indonesian  government

• landscape  sketching  outside  with  pencils  and  inks

• large-­‐scale  installation  of  canvasses  involving  the  tracing  &  subsequent  acrylic  painting  of  a  projected  image  of  children’s  drawings  of  a  Southbank  landscape  onto  an  assemblage  of  A4  canvasses  -­‐  one  for  each  child  (see  Appendix  1)

• performing  their  poetry  in  front  a  time-­‐lasped  Qilm  using  green  screen  technology

• visiting  the  BFI  Mediathèque  and  watching  Qilms

• writing,  illustrating  and  producing  their  own  Southbank  promotional  leaQlet

• visiting  the  real  locations  that  featured  in  the  book  they  were  reading:  “The  London  Eye  Adventures”

• visiting  the  site  of  the  original  Festival  of  Britain

• learning  to  produce  podcasts  and  blogs

• sound  collecting  (trains,  voices,  coffee  machines,  footsteps)  &  recording  for  later  use  in  musical  composition/sound  editing

• map  work  and  Qloor  plans  re.  how/where  to  display  their  work

time & space

It  was  clear  from  observations  and  interviews  that  Fran  Welch,  Hannah  Quigley,  Jessica  Hemming  and  Bev  Keyte,  the  Year  4  teacher  responsible  for  delivering  the  results,  were  skilled  communicators  and  worked  well  together  as  organisers  of  time  and  space.

For  Bev  the  project  represented  a  signiQicant  learning  opportunity  but  also  a  massive  shift  away  from  the  norms  and  conveniences  of  class-­‐based  activities.  Despite  considerable  teaching  experience  she  felt  some  apprehension  about  being  taken  out  of  her  comfort  zone  and  put  in  a  situation  seemingly  over  which  she  had  little  control.  Indeed  being  so  close  to  everyday  logistics  and  the  detail  of  each  activity,  it  was  only  at  the  halfway  point  that  she  was  able  to  take  a  step  back  and  appreciate  the  scope  and  overall  vision  for  the  project.    Bev  also  commented:  “this  half  term  has  Qlown  by  because  we’ve  done  this  project”,  indicating  her  focus  and  level  of  absorption.

Painting the canvasses

ʻLondon Eye Mysteriesʼ - site exploration

Southbank promotional brochure

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The  substantial  time  and  energy  that  was  spent  travelling  to  and  from  the  Southbank  was  a  major  consideration  for  Bev  as  was  stafQing  and  the  transporting  of  resources.  The  children  also  were  tired  by  the  morning  commute,  however,  it  did  not  dominate  their  overall  appreciation  of  the  project.

Bev  noted  how  much  the  children  grew  into  the  space  afforded  by  the  Southbank  Centre:  “Their  conQidence  at  using  the  Southbank  is  amazing,  they  believe  it  to  be  theirs”;  a  fact  corroborated  by  Fran  who  received  a  particular  email  from  some  parents  whose  child,  on  the  strength  of  this  project,  had  taken  them  to  the  Centre  and  given  them  “a  guided  tour”.    There  was  an  overwhelming  sense  that  the  children  had  claimed  this  space  as  their  own:  this  was  seen  in  the  way  they  would  settle  into  a  particular  ‘lunch  space’  and  interact  with  the  area  (photo1);  the  way  they  went  from  space  to  space  and  up  and  down  stairs  in  an  orderly,  conQident,  chatty  fashion  (photo2);  also  in  the  way  they  would  settle  down  to  work  in  groups  (sometimes  lying  on  the  Qloor)  in  whatever  space  was  allocated  to  them  within  the  building  (photos  3  &  4)  without  recourse  to  asking  for  permission  -­‐  “Am  I  allowed  to...?”  which  had  notably  been  the  case  at  the  start  of  the  project.

One  child  seemed  particularly  in  awe  of  the  RFH  and  whispered  a  secret  into  my  voice  recorder  that  was  only  subsequently  discovered  :  “We  went  upstairs  for  lunch  and  it  was  really  beautiful”.

If  one  of  the  barometers  for  the  success  of  the  project  was  how  at  ease  most  of  the  children  felt  in  their  surroundings,  one  child’s  comment  is  worth  mentioning.  Prompted  by  photo  1,  she  was  asked  how  it  made  her  feel:  “I  feel  at  home!”.    This  begins  to  suggest  that  she  has  unselfconsciously  internalised  an  alternative  learning  style  in  an  alternative  learning  environment;  the  fact  that  it  was  an  environment  rooted  in  the  busy,  peopled,  ‘real  world’,  with  no  shortage  of  potential  distractions  is  even  more  impressive.

The  sustained  nature  of  the  project,  spanning  several  weeks,  was  one  of  its  strengths  as  highlighted  by  Hannah  Quigley  of  the  CLC.  For  her,  the  2-­‐day  a  week  model  worked  for  everyone  as  a  solid  framework  which  allowed  time  both  for  critical  reQlection  and  logistical  adjustments  as  the  project  developed.    She  also  noted  that  Telferscot,  where  possible,  were  supporting  and  extending  their  new  learning  during  the  rest  of  the  week  at  school.  This  continuity  in  turn  maximised  their  time  at  the  Southbank  and  made  for  a  “richer,  more  meaningful  experience”.

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learning

If  one  was  to  take  as  a  starting  point  the  familiar  visual,  auditory  and  kinesthetic  learning  styles  and  accept  that  we  can  all  beneQit  from  these  approaches,  the  project  covered  most  of  them  most  of  the  time.  There  was  also  a  great  deal  of  writing  -­‐  what  might  be  termed  energised  writing  -­‐  inspired  by  audiovisual  stimulation  and  motivated  by  the  knowledge  that  it  was  to  be  shown,  shared  or  publicly  performed  or  more  simply  to  be  a  component  in  the  children’s  “precious”  sketchbooks:  their  physical,  tactile,  portable,  lasting  and  personal  record  of  achievement.  Learning  by  making,  doing  and  sharing  was  an  important  factor  in  the  project’s  appeal.

One  child  with  below  average  literacy  skills  and  whose  motivation  and  attendance  is  generally  poor,  called  me  over  to  have  me  look  at  his  sketchbook  and  read  me  the  story  associated  with  his  photoshopped  collage;  his  sense  of  pride  and  ownership  was  striking.  Fran  relates  that  this  child’s  attendance  and  time-­‐keeping  during  the  project  was  100%.  Another  child,  asked  to  comment  generally  about  the  project  said:  “It’s  better  than  being  stuck  at  school  writing...”,  even  though  they  were  doing  a  considerable  amount  of  that  very  thing  but  with  a  higher  degree  of  motivation.  Furthermore,  Bev  spoke  of  a  child  with  signiQicant  cognitive  &  physical  challenges  from  

whom  she  had  never  seen  a  page  of  writing,  a  situation  which  was  triumphantly  reversed  during  several  weeks  of  sustained  and  collective  focus.

When  shown  an  image  of  them  in  their  conventional  maths  lesson,  one  child  remarked:  “That  was  when  we  were  working”,  implying  that  the  rest  of  the  time,  for  him,  wasn’t  conceived  as  work.  Perhaps  this  has  to  do  with  the  overall  privileging  of  individual  work  in  traditional  school  settings,  over  the  creative  collaborative  work  stamping  much  of  the  children’s  activities  in  this  new  setting:  one  that  fosters  a  sense  of  experimentation,  exploration,  risk-­‐taking  and  indulging  of  the  imagination.  Having  said  that,  a  higher  achieving  child  very  much  interpreted  the  activities  as  work,  when  asked  if  she  felt  like  they  had  been  doing  lots  of  playing,  she  replied  emphatically,  “No,  I  felt  like  I  was  doing  lots  of  working”.    Another  child  countered  with:  “It  feels  like  work,  but  fun  ...  it  was  fun  work” So  it  seems  that  children  of  all  abilities  were  either  stretched  or  stimulated  by  this  more  Qluid,  thematically  organised  curriculum,  with  no  right  or  wrong  answers.  On  a  social  level,  Bev  observed  that  the  project  had  improved  class  cohesion,  teamwork,  tolerance  and  reciprocal  support,  especially  in  relation  to  some  of  the  children  with  special  needs.  

In  terms  of  adult  learning,  Bev  now  appreciates  that  she  “can  be  more  ambitious  ...  Now  that  we’ve  done  this  project,  anything  is  possible!”.    She  also  pointed  out  Fran’s  consistent  administrative  and  moral  support,  without  which  she  would  not  have  been  able  to  deliver  the  results.

Fran  herself  reported  improved  personal  communication  skills  and  a  wholesale  conQidence  boost.  She  now  knows  she  can  plan  a  large-­‐scale  project  in  creative  partnership  with  local  and  major  national  institutions,  a  fact  which  in  the  initial  stages  

“They’ve come together as a whole class” - Bev

“I didn’t know elevators could sing”

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felt  daunting  and  overwhelming.    In  partnership  with  Hannah  and  Jessica  she  felt  nothing  but  positive  encouragement  to  explore  the  creative  possibilities,  go  with  her  intuition  and  continually  raise  her  aspirations:  “At  no  point  did  they  say  no”.    Hannah,  in  her  role  as  intermediary  between  the  school  and  Southbank  Centre,  was  able  to  exploit  her  experience  of  and  sensitivity  towards  the  spheres  of  education  and  the  arts,  articulating  their  respective  needs  and  outlining  possible  constraints.  Fran,  coming  from  the  more  regulated  context  of  a  school,  was  particularly  grateful  for  the  help  she  received  in  mapping  the  realms  of  the  possible.

Interestingly,  Fran  herself  was  educated  at  a  school  with  an  ethos  of  integrated,  topic-­‐based  learning  as  opposed  to  subject-­‐based  and  it  would  seem  that  the  residency  has  beneQitted  from  this  early  experience.  Perhaps  it  offers  a  glimpse  of  how  the  Telferscot  children  might  beneQit  in  their  turn  if  given  further  opportunities  to  express  their  creativity  in  an  enabling  environment  with  expert  back  up.  This  latter  fact  didn’t  go  unnoticed  by  some  children  who  recognised  they  were  in  the  company  of  adults  who  were  “kind  of  like  experts”.    Bev  too  mentioned  having  “a  lot  more  insight  into  creativity  in  the  curriculum”  and  how  it  was  possible  to  “link  it  all  into  one  subject”.  

When  asked  what  they  thought  the  teachers  had  learned  from  the  project,  the  children  said  “that  we’re  very  artistic”,  “that  we’re  mature  enough  to  go  on  trips”,    and  “they’re  impressed  with  us”  indicating  their  overall  satisfaction  and  sense  of  empowerment.  Their  responses  were  unanimously  about  the  favourable  impression  the  teachers  must  now  have  of  them:  perhaps  the  project  has  sparked  an  awareness  of  the  beneQits  of  making  a  good  impression,  which  could  be  one  of  its  more  subtle  outcomes.

Sarah  Horrocks,  Director  of  the  CLC,  observed  that  one  of  the  main  functions  of  the  project  was  to  make  

known  that  “learning  can  happen  anywhere”  not  just  within  the  conQines  of  the  classroom  and  that  “real  partnerships  and  proper  dialogue”  between  institutions  can  realise  deeper  mutual  understandings.  

On  a  more  granular  level,  the  children  took  a  retrospective  look  at  photos  taken  during  the  project  (see  Appendix  2)  and  picking  up  on  some  of  their  more  subtle  spoken  and  written  observations,  on  what  was  said  and  unsaid,  it  is  interesting  to  reQlect  on  the  social  and  cultural  learning  implications,  on  how  they  will  assimilate  these  layers  of  experience  and  take  them  forward  into  adolescence  and  beyond:

-­‐  to  sit  in  a  classroom  with  ‘windows’  in  the  ceiling  and  be  walked  over-­‐ to  be  immersed  in  a  network  of  collaborating  adults-­‐ to  engage  with  being  a  designer  of  artifacts  with  artistic  and  social  value-­‐ to  actively  deploy  the  senses  to  interpret  your  immediate  environment-­‐ to  have  a  man  talking  business  loudly  on  the  phone  during  your  poetry  recital  rehearsal-­‐ to  work  in  an  environment  where  traditional  hierarchies  are  unsettled

“At no point did they say no” - Fran

“The sky’s the limit” - Fran

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-­‐  to  be  ignored  by  the  public  as  well  as  applauded  for  your  performance-­‐ to  be  outside  learning,  thinking,  drawing,  sketching  and  making  connections-­‐ to  be  making  co-­‐design  choices  in  the  vicinity  of  toddlers  with  grandparents  and  a  bar  with  chatting  adults-­‐ to  be  bored  in  a  context  other  than  what  you’re  used  to-­‐  to  really  feel  the  commute  ‘to  work’-­‐ to  emulate  the  busking  Elvis-­‐  to  have  lunch  overlooking  the  Houses  of  Parliament-­‐ to  perform  to  camera-­‐ to  go  in  a  glass  lift  that  sings-­‐ to  sit  &  imagine  yourself  an  Indonesian  instrumentalist-­‐ to  study  the  contours  of  a  Victorian  lamp  post-­‐ to  wonder  at  the  thoughts  of  a  seagull  or  a  river-­‐ to  have  one’s  curiosity  and  sense  of  wonder  regularly  and  irregularly  stimulated

“There was a man talking over us all the time”

“It was weird having people walking over us”

Redrafting of poems

legacies & future aspirations

There  have  been  some  interesting  ideas  as  to  how  each  participating  group  feel  the  residency  could  develop  and  as  with  any  learning  curve  some  of  these  were  born  out  of  its  more  challenging  aspects  and  others  simply  as  a  result  of  imaginative  leaps.  

It  was  suggested  that  the  children  might  be  given  the  opportunity  to  develop  competence  in  performing  poetry  skills  with  a  professional  before  performing  publicly.  The  teachers  themselves  might  also  be  afforded  this  opportunity  the  better  to  inspire  their  class  -­‐  in  relation  to  software  knowledge  eg.  photoshop  as  well  as  performing  skills.  However,  such  decisions  would  have  to  be  carefully  considered  so  as  not  to  ‘crowd  out’  or  lose  focus  on  the  main  objectives  for  each  activity.    

Similarly,  Southbank  departments  could  be  invited  to  speciQic  sessions  to  encourage  a  dialogue,  an  exchange  of  information,  ideas  and  expertise.    In  the  spirit  of  promoting  an  interactive,  open-­‐door  policy  between  two  worlds  which  are  traditionally  perceived  as  separate,  the  marketing  department  for  example  could  provide  input  into  any  promotional  work  the  children  might  be  engaged  in.

Busking Elvis

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A  further  related  extension  activity  could  be  a  gallery  visit  featuring  an  art  installation  typifying  the  one  they  are  working  towards;  such  a  sensory  and  concrete  orientation  might  reinforce  the  spoken  word.  The  Qinal  RFH  exhibition  seemed  to  be  a  difQicult  concept  for  some  of  the  children  to  grasp  and  the  overall  aim  may  have  been  unclear  to  some.

It  may  also  be  beneQicial  to  build  in  speciQic  times  for  reQlection  during  the  residential;  to  hold  for  example  a  mid-­‐project  feedback  session  as  a  means  of  stepping  back  and  evaluating  its  progress.    A  further  valuable  legacy  was  quite  simply  a  greater  understanding  of  how  long  certain  activities  take  to  complete.  There  is  a  newfound  reciprocal  appreciation  of  the  nuts  and  bolts  of  timing  and  logistics,  for  example  of  the  more  technical  aspects  of  Qilming  to  the  Qiner  details  of  accommodating  25  disparate  personalities  with  signiQicantly  diverse  needs  and  backgrounds.

In  comparison  with  the  previous  residency,  Sarah  Horrocks  conQidently  asserts  that  “We  got  it  right  this  time”  and  that  the  considerable  amount  of  input  and  time  spent  planning  and  managing  both  projects  will  grow  less  in  future.  It  is  conceived  that  there  will  be  ongoing  Southbank  residencies  and  that  newly  acquired  knowledge  and  expertise  will  be  passed  on  via  the  teachers,  to  build  an  autonomous,  peer-­‐to-­‐peer  creative  network.

One  of  the  driving  forces  of  the  project  was  the  knowledge  that  the  work  was  to  be  publicly  displayed.  The  school  website  was  instrumental  in  this  sharing  process  being  regularly  updated  by  the  children,  as  well  as  photos  and  movies  being  posted  by  one  of  the  attending  parents.    One  of  the  school  staff  was  emotionally  overwhelmed  by  footage  of  the  poetry  recitals  by  the  river  and  claimed  to  be  on  the  website  for  an  hour  looking  through  the  entries.

There  was  an  exhibition  at  the  school  one  evening  in  March  where  all  the  children’s  work,  both  material  and  digital,  was  imaginatively  displayed.    It  was  an  opportunity  for  the  school  to  show  parents  and  the  wider  public  that  this  had  been  a  whole  school  initiative:  each  year  group  had  embraced  the  opportunity  to  visit  certain  areas  and  arts  venues  around  the  Southbank  and  along  the  river,  producing  quality  wall  displays  and  digital  work,  all  with  the  theme  of  ‘Feel  the  beat  of  London  

Life’  woven  into  their  respective  core  curriculum  topics.

Collective  effort  and  commitment  on  such  a  scale  can  only  raise  aspirations,  creating  positive  memories  that  will  resonate  long  after  displays  are  dismantled.    Sarah  Horrocks  believes  that  in  terms  of  long  term  beneQits,  the  project  may  have  “changed  the  way  the  school  works  and  celebrates”.    

Fran  looks  forward  to  seeing  the  work  publicly  shown  in  the  Royal  Festival  Hall  exhibition  space  as  part  of  the  Festival  of  Britain  in  April  2011.  Not  only  is  this  the  climax  of  many  months  of  preparation  but  it  also  represents  a  chance  to  gain  useful  tips  on  display  

techniques  from  a  team  of  professionals.    She  knows  that  the  impact  of  the  work  can  be  greatly  enhanced  if  it  is  innovatively  displayed.  The  effect  of  this  particular  artistry  may  well  ripple  down  and  affect  the  children’s  perceptions  who  are  likely  to  be  even  more  impressed  to  see  their  work  displayed  in  yet  another  context:  beyond  their  bedroom,  the  

“It’s like my home”

School Exhibition - March 2011

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kitchen  wall,  their  classroom,  their  school,  their  computer  and  into  the  public  domain,  a  domain  from  which  their  work,  input  and  ideas  are  often  excluded.

On  the  strength  of  the  relationships  that  have  now  been  formed  between  the  school  and  the  agencies,  Telferscot  children  were  also  involved  in  Southbank  Centre’s  “Imagine”  festival  in  the  February  half  term.  Some  of  the  children  took  on  adult  staff  roles  during  the  week’s  activities,  showing  people  round  and  manning  certain  desks,  while  others  from  the  school  choir  performed  on  stage.  This  is  an  indication  of  close  ties  and  deeper  understandings  that  are  starting  to  develop  between  the  stakeholders.  

It  is  hoped  that  most  children  will  have  an  organic  appreciation  of  how  all  the  dots  along  the  journey  have  been  joined  up  to  produce  a  beautiful,  vibrant  and  meaningful  art  installation  with  longterm  legacies.  Furthermore,  and  with  pleasing  circularity,  it  will  be  one  located  within  a  national  arts  venue  that  for  some  had  felt  like  a  home  from  home.

“I love learning!”

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appendix 1 - the canvass landscape process

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appendix 2 - examples from photo elicitation

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