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One borough; one community;

London’s growth opportunity

Cultural Education Partnership

First Young People’s Conference Report

First Young People’s Conference Cultural Education Partnership

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Table of Contents Document Control – Revision History ..................................................................... 3

Executive Summary ................................................................................................... 3

1. Introduction ............................................................................................................ 4

2. Key Themes ........................................................................................................... 5

2.1 Creativity for personal development and wellbeing ........................................... 5

2.2 Creativity as a tool: real world application ......................................................... 5

2.3 Engagement: understanding the context for young people ............................... 5

3. Ambitions and aspirations ...................................................................................... 6

3.1 Range of activities in the creative and cultural offering ..................................... 6

3.2 Creativity as a tool ............................................................................................ 6

3.3 Recommendations ............................................................................................ 6

4. Benefits of Creativity .............................................................................................. 7

4.1 Positive feelings and enjoyment ........................................................................ 7

4.2 Self-expression ................................................................................................. 7

4.3 Identity .............................................................................................................. 7

4.4 Increased confidence ........................................................................................ 8

4.5 Communicating with others ............................................................................... 8

4.6 Opportunities to try new things .......................................................................... 8

4.7 Recommendations ............................................................................................ 8

5. Barriers to Creativity ............................................................................................... 9

5.1 Fear of judgement ............................................................................................. 9

5.2 Expectations and preconceptions ..................................................................... 9

5.3 Accessibility ...................................................................................................... 9

5.4 Resources ......................................................................................................... 9

5.5 Time ................................................................................................................ 10

5.6 Recommendations .......................................................................................... 10

6. Overcoming barriers ............................................................................................. 11

6.1 Inspiration and confidence building ................................................................. 11

6.2 Bringing people together ................................................................................. 11

6.3 Resources ....................................................................................................... 11

6.4 Connectivity .................................................................................................... 11

6.5 Recommendations .......................................................................................... 11

Appendices ........................................................................................................... 12


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Document Control – Revision History

Version Date Amended By Summary of changes

1.0 16/11/17 Josephine Altham First draft

1.1 22/11/17 Josephine Altham Updated following comments from Nigel Sagar



1.4 18/12/17 Josephine Altham Updated following comments from Louise Barnell

Executive Summary The conference celebrated the achievements and aspirations of the young people

present. It was an exciting start to a continuing conversation about their perception of

culture and creativity and the barriers to access. The aspirations of the young people

acted as a challenge to the borough and its partners. We need to maintain that

forward momentum as we embed their voice at the centre of strategy.

The key emergent themes:

• Creativity for personal development and wellbeing

• Creativity as a tool: real world application

• Engagement: understanding the context for young people


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1. Introduction Each year organisations that make up the Barking and Dagenham cultural education

partnership (CEP) come together for a conference to share best practice and discuss

future directions. This year, for the first-time, young people were offered an

equivalent space for dedicated discussion.

Held on the 6 October 2017 in Barking and Dagenham College, the conference

brought together young people and teachers from 18 different schools and

individuals from 4 arts organisationsi. Studio 3 Arts curated the conference with Liza

Vallance, Ashley J and Jade Hackett facilitating. The format involved a series of

workshops each centred around a group of questionsii with a short plenary after

each.

The Marsh Green Drummers opened the conference with a procession through B&D

College culminating in a professional high-energy performance for the assembled

participants. This atmospheric beginning set the tone for a day filled with enthusiasm

and aspiration. Participants also met representatives from the digital technology

giant, Huawei, as they are currently working with the college. Members of the Big

Deal1 programme contributed accomplished performances, inspirational words and

supported with facilitation. Thomasina performed an original song and Sauce closed

the conference with a powerful freestyle rap based on themes that emerged over the

morning. Koby performed a street dance routine and spoke about his experience

competing in the USA. All the performers actively encouraged participants through

both example and discussion. They persuaded several students to attend Big Deal

workshops to develop their existing interests.

The principal areas of enquiry at the conference covered the what, the where, the

who, the why and the future of creativity. They were the starting point for a frank

and open discussion. The conference offered a space which enabled attendees to

reflect and they posed increasingly challenging questions over the course of the day.

Those who attended were likely some of the most culturally engaged; further

consideration is needed as to how we capture the voice of those not in attendance.

The young people brought a passion and power to discussions that need to resound

throughout the CEP. Their insight and the themes that emerged indicate how vital it

is to draw on the perspectives of this group. This conference acted as a renewal of

the challenge to support our young people to achieve through cultural education

provision in Barking and Dagenham.

1 “Big Deal is Studio 3 Arts’ award-winning, flagship programme for young people.” http://www.studio3arts.org.uk/open-access/

http://www.studio3arts.org.uk/open-access/

http://www.studio3arts.org.uk/open-access/


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2. Key Themes

2.1 Creativity for personal development and wellbeing The young people at the conference effectively made a case for creativity as a tool

for personal development. They indicated how previous opportunities had helped

them to build confidence and resilience and demonstrated how future opportunities

can further this. The offer should be both broad and fresh to allow people to explore

new activities or to develop existing skills in new ways. The young people at the

conference demonstrated understanding of how they could self-serve to support their

own development. We need to find the balance between supporting and empowering

students, recognising their needs as individuals.

One of the striking themes present was the capacity for creativity to impact on

wellbeing. At a time when incidence of child mental health issues is rising sharply2; it

is crucial to acknowledge the value young people place on creativity as an avenue to

work through strong feelings and navigate their social environments.

2.2 Creativity as a tool: real world application Applying creativity to challenges in the real world has the potential to capitalise on

the enthusiasm of engaged young people. Achieving this would likely involve a broad

activity base which relates to all aspects of shows or productions. The added

advantage is opportunities are provided for students who would not label themselves

as “creative” or “performers”. This can then be developed into alternative career

pathways and lead to students gaining skills that will leave them better equipped for

the workplace.

Creativity as a tool to challenge expectations or stereotypes could also be further

developed with young people. Encouraging students to harness the power of

creative devices and use them to communicate ideas and messages that they feel

are important and relevant to them is a powerful way to demonstrate application.

2.3 Engagement: understanding the context for young people The first dedicated young people’s conference was an important initial step. To build

on this work it will not only be vital to continue to engage with young people, but also

to further understand their context. Parents/guardians facilitate access to creative

activities and transfer expectations about creativity to the young people for whom

they are responsible. We need to engage with parents and guardians to engage

them as an enabling factor for young people, as well as directly capturing the voice

of young people in a number of settings.

2 http://thriveldn.co.uk/children-and-young-people/ http://www.independent.co.uk/life-style/health-and-families/features/teenage-mental-health- crisis- rates-of-depression-have-soared-in-the-past-25-years-a6894676.html

http://thriveldn.co.uk/children-and-young-people/

http://www.independent.co.uk/life-style/health-and-families/features/teenage-mental-health-%20crisis-%20rates-of-depression-have-soared-in-the-past-25-years-a6894676.html

http://www.independent.co.uk/life-style/health-and-families/features/teenage-mental-health-%20crisis-%20rates-of-depression-have-soared-in-the-past-25-years-a6894676.html


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3. Ambitions and aspirations • How can we promote less “visible” arts?

• What is the prevailing view of a creative career amongst young people?

• How can we ground young people’s experience of creativity in application?

3.1 Range of activities in the creative and cultural offering The spread of activitiesiii participants are involved in reflected the enthusiasm and

high levels of aspiration at the conference. The activities most frequently mentioned

were also some of the most “visible” and already known to be a strength in the

borough. Participants’ ambitions, for the most part, mirrored activities they had

experienced directly or through popular culture. However, there seems to be a

distinct appetite to try new activities they had not yet had the opportunity to access.

For some, creative careers, money and fame were linked, perhaps influenced by the

end-products of the creative industries they encounter. Widening the activity base

could be a route to broadening common pathways into the creative industries. This

could include access to technical and behind-the-scenes roles and would reflect the

desire amongst the young people at the conference to access new opportunities and

alternative pathways.

3.2 Creativity as a tool Participants discussed creativity as a tool, centred around direct applications to

convey messages in their communities, particularly increasing social cohesion and

challenging stereotypes. The vast range of opportunities offered by creative work

was only lightly touched on. Creativity as an avenue to effect societal change and/or

communicate could be linked to existing work and thereby careers.

3.3 Recommendations - Increase the availability of less “visible” activities, including technical roles, to

reflect the ambitions of young people and broaden routes into the creative

industries

- Encourage direct application of creativity to challenges, such as social

cohesion and stereotyping


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4. Benefits of Creativity • Is the importance of creativity for young people’s wellbeing acknowledged?

• How can creating original work be maximised as a development opportunity?

• Do young people feel they can harness the power of creativity to impact

society?

4.1 Positive feelings and enjoyment Participants were clearly enthusiastic about creative activities and they expressed

the feelings shown below.

Figure 1 – How does creativity make you feel?3

Their conversations indicated they associated creativity with fun and enjoyment. This

was evident when they were talking about where they valued as a creative place, as

well as being expressed directly. These feelings are enormously valuable for young

people’s wellbeing, and it is vital that children and young people have opportunities

to feel this way. Engaging young people to curate and define the availability and type

of activities should help ensure that these levels of enjoyment are maintained.

4.2 Self-expression Conversations indicated that the act of solo creative activity appeared to be linked to

self-expression and understanding in the minds of participants. Many of the

responses indicated a reflective, almost meditative process in which they would

become incredibly absorbed. Some put this as an escape or release into their own

world. Young people should feel empowered to engage in solo creative activity, so

they can access the benefits they perceive.

4.3 Identity Attendees connected the creative process with exploration of identity and the idea of

being part of a group or an outsider. Young people should have the opportunity to

explore their identity and creativity is a possible medium for this. Some groups

present at the conference had a strong collective identity, this noticeably drew other

3 More frequently used words appear larger


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participants to their collective charisma and gave them a certain power. Furthermore,

young people from creative groups with strong identities talked of the benefits.

Opportunities to be part of a group or project may allow them to develop a shared

identity centred around a common purpose.

4.4 Increased confidence Over the course of the conference we observed the young people becoming

increasingly confident and speaking about their experiences in a frank and articulate

manner. Participants spoke about how previous performance opportunities had

helped increase their confidence. There were also many indications they were using

skills they had acquired to produce original work. Opportunities to produce work of

this kind elicited feelings of pride, ownership and responsibility. It is likely this acted

as a confidence building exercise and has the potential to increase resilience and

challenge young people to improve their work, if the right platforms for sharing are

available. To gain these benefits young people should be offered the opportunity to

share a piece of original work in a positive, constructive environment.

4.5 Communicating with others Participants explored creativity as an opportunity to bring new people together and

challenge preconceptions. Their discussions tended to focus on application in their

own communities. Facets included the power of creativity to build confidence among

young people and support them to resist negative external influences. Understanding

the power of the creative arts to communicate could be explored more overtly

incorporating issues like community wellbeing which they felt were important. This

could be done in a way that emphasises the potential impacts of being challenged

creatively.

4.6 Opportunities to try new things Young people had a clear wish to try new activities and develop their existing

interests through creating original work. Where participants have already performed

at a venue they were eager to repeat that experience. Balancing this exploration with

places where participants feel safe to express themselves is a key challenge.

Creative activities have clearly offered these young people exciting opportunities

they would not otherwise have accessed. We should be engaging with young people

to find out about the types of opportunities to appeal to them, but also to offer

challenges and suggestions of new activities outside their experience.

4.7 Recommendations - Increase opportunities for young people to curate and define the cultural and

creative offer

- Ensure young people feel empowered to engage in solo creative activity

- Facilitate opportunities for young people to develop a shared identity around a

common purpose and share original work in a positive, constructive

environment

- Explore creativity as a communication medium, supporting young people to

challenge themselves and others


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5. Barriers to Creativity • Are creative opportunities conducted in a psychologically safe environment?

• Are all students offered opportunities to create their own work?

• Is there sufficient signposting to existing provision?

• How do we continue to support participation as demands on teachers and

students increase?

5.1 Fear of judgement Sharing creative work can be exposing, but also a rewarding challenge, especially if

the work is original and personal. Young people clearly desire opportunities to create

in a ‘safe space’ which was defined by some as where, “no-one is watching or

judging”, “everyone is equal” and there is “space to be free”. Participants were

concerned about not being good enough and they also raised the idea of having

freedom to create on your own terms. The way they described these fears indicated

they would be heightened in places where they felt there was additional social

pressure. Young people should be able to access opportunities in an environment

where the feel safe, confident and able to contribute.

5.2 Expectations and preconceptions Young people extensively discussed the influence of key adults on their lives. Some

felt that their parents may be a barrier to their involvement in creative activities. Ideas

around the value and accessibility of creative activities were considered as barriers

for parents. Others felt there were religious or cultural barriers to involvement.

Engaging parents/guardians needs to be a key part of consulting young people as

this will help us understand the context and barriers they face.

5.3 Accessibility Participants perceived activities would be more difficult to access for those with

different ethnicity, sexuality, ability, age and those with mental illness. They also

thought particular groups or people with certain characteristics would be less

confident. This could be further explored by understanding demographics of

individuals and groups that currently engage with activities and why those that don’t

choose not to. Activities should be available to everyone and, where they are, we

need to ensure they are perceived as accessible.

The students at the conference were well engaged with cultural activities. The voice

of students who are not as engaged and would not label themselves “creative” may

provide a very different perspective on the current cultural offering. Those whose

voice has not been captured are essentially invisible to us, we need to create

opportunities for these people to be visible and engage with them in ways they feel

comfortable. This includes children and young people that wouldn’t usually be

engaged via schools.

5.4 Resources Many participants discussed money and lack of facilities or clubs as a barrier to

further involvement in the cultural offering. This may be aggravated by insufficient


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information about the available activities in the borough. There should be provision

for all our young people to engage with cultural activities and we should consider

how they may be supported to access them.

5.5 Time Attendees considered timings of activities and coordination with school, exams and

transport a barrier. These considerations are important to young people and should

be addressed when creating the cultural offer.

5.6 Recommendations - Understand the context and barriers for young people, including engaging

parents/guardians

- Create opportunities for people to be visible and have their voices heard by

engaging with them in ways they feel comfortable

- Provide opportunities for all our young people to engage with cultural

activities and consider how we can support them according to their needs

- Consider the ways young people and their carers access information about

creative activities

- Ensure activities are accessible and perceived to be accessible, including with

respect to practicalities such as time and location


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6. Overcoming barriers • Are we facilitating activities that leave young people feeling empowered?

• How can we encourage young people to overcome barriers for themselves?

• How can creativity be used to build local confidence?

• How can preconceptions about the value of creativity be challenged?

• How do we capture the voices of people who are not engaged?

6.1 Inspiration and confidence building The participants felt they could overcome some of the fears of judgement and lack of

confidence through practice. Their methods were to encourage others and practice

performing in front of people they felt comfortable with first. A second idea was to

hear from inspiring people such as celebrities or people who had overcome their

inhibitions. Their answers displayed an understanding that they could overcome

these barriers themselves supported by the availability of appropriate opportunities.

6.2 Bringing people together Participants felt events that bring people together have immense value, especially

where they facilitate opportunities for young people to create together. They were

clearly desirous of sharing their obvious enjoyment of creativity with a wish to “have

performances for people everywhere”. Another part of this idea was using these

events to challenge people’s perception of the arts and persuade them of their value.

Facilitating opportunities for young people to run activities to overcome some of

these barriers could be a way to harness their enthusiasm, build their own

confidence and challenge perceptions in their communities.

6.3 Resources Suggestions focused around obtaining more money for activities to offer free clubs

and bursaries for creativity.

6.4 Connectivity Suggestions for increasing accessibility included people being made aware of

activities through newsletters and opportunities to cycle to venues.

6.5 Recommendations - Facilitate opportunities for young people to speak directly to people they find

inspiring

- Support young people to overcome barriers for themselves and recognise

distinct types and levels of support are required by different individuals


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Appendices

iParticipating Organisations

• Marsh Green Primary School

• Valence Primary School

• Northbury Primary School

• Thames View Junior School

• Grafton Primary School

• Eastbury community school

• Jo Richardson Community School

• Beam Primary School

• Dagenham Park School

• Trinity Special School

• Barking Abbey School

• Leys Primary School

• The Sydney Russell School

• Riverside School

• Greatfields School

• Parsloes Primary School

• Ripple Primary School

• Becontree Primary School

• University of the Arts London

• Greenshoes

• Studio 3 Arts team

• Barking & Dagenham Community Music Service


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iiQuestions used as main areas of enquiry at the conference

1. The What

o What do you like creating

o How does it make you feel?

o What’s the best/most important thing you ever created?

o Who do you create with?

o What creative thing would you love to try that you’ve never done

before?

2. The Where

o Where are you most creative?

o Where do people go locally to be creative, or see creative things

happening?

o How do you find out about what’s happening locally?

o Tell us something about your area that not many people know

o What’s special about your area?

o If you brought someone to the borough for a fun day out, where would

you take them?

o If you had to draw a postcard of the borough to attract tourists what

would you include?

3. The Who

o In your community, who is the most confident?

o Who needs help to be more confident?

o Who would you bring together to get to know each other more?

o Who do you know who does something creative in your area?

o Have you ever been a volunteer?

4. The Why

o Why do you think people do creative things?

o What are the barriers that stop people from taking part in creative

activities?

o How can we work together to remove these barriers?

5. The Future

o Have you considered a creative career?

o What would you like to do when you leave school?

o What creative stuff do you do outside of school?

o Do you have an idea for something that could happen locally?

o Is there something missing that you would like to be able to do, that

you don’t do now?


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iii Table 1 – the range of activities in which young people participate

Performing Arts

Dance Music Theatre Art and Design

Writing Heritage

Commercial Street Tap Contemporary Commercial Modern Gymnastics Ballet

Beats Remixes Creating songs and rhythms Raps Drumming Freestyle rap Singing Song writing Guitar Choir Piano Clarinet

Acting Monologues Role play Panto Create plays Drama

Drawing Making jewellery Collage Sketching Photography 3D models Animations Origami Sculpture Fashion design Cardboard models Buildings Cards Nature home Virtual games Slideshow

Poems Stories Plays

Museums Talking about religious festivals Community groups Festivals and activities at the library

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