How the Arts have transformed Feversham Primary

Feversham is a large primary school located in Bradford Moor, an area of pronounced social deprivation less than a mile from Bradford city centre. It is an exemplar of how the Arts can transform a school. 

After being placed in special measures a decade ago, the decision was made for music and drama to form the core of the school’s connected curriculum. This has not only produced excellent results in maths, reading and writing, but has contributed to the students’ confidence, positivity and friendliness, all factors noted in the school’s recent Outstanding Ofsted report.

Our day-long visit began with a lively assembly in which Year 3 students used music and drama to depict the employment and education of Victorian children. The graphic depictions of working conditions and punishments elicited a flood of questions from the rest of the students.

Our guide for the day was Arts Lead Alisa Yates. We began our tour in the large, light and open Arts Studio. A wide range of media and techniques were displayed on walls, drying on racks and hanging on strings. 

Alisa has written an article all about this creative space in the latest edition (#33) of NSEAD’s AD Magazine. In it, she talks about promoting independent thinking and a proactive approach.

There was a corner ‘curiosity’ area with comfy seating where students could use the miscellaneous objects as stimuli for sketching and inspiration.

Alisa showed us the table of pestles, mortars, gums and stones used to make paints and dies. We were told how the children would learn about the process of grinding and combining ochre and other materials to make powders and pigments that would become the colours they use for their own art works.

The Art Studio also contained light boxes for a stop-time iPad-based animation project. Alisa told us of her professional background in photography from the age of 16 often working with her own team of stylists and technicians. She is a current arts practitioner specialising in watercolour painting, photography and textiles.

Her ongoing exploration of media and techniques, and passion for experimentation was evident not only in the vibrant Art Studio, but also in the conversations we had with Year 4, 5 and 6 students. Their many arts activities at Feversham are documented in this ‘Art Studio’ blog. Alisa also curates this ‘Art Academy@FPA’ blog which includes stimuli, activities and learning materials.

Led by Alisa, the school had been involved in a quilt making project. Feversham students, in partnership with the Bradford 2025 Year of Culture bid, made a video to explain the project and to ask other schools to contribute squares that communicated something about their ‘Untold stories, [and] Hidden Communities‘. The 200 individual squares were sewn together to create ‘a collection of memories and histories’ specific to the area and to the children.

We also met Jimmy Rotheram, Senior Leader for Music – probably the only one in the country, he told us. It was Jimmy who was leading the assembly earlier. Starting as a supply teacher eight years ago, Jimmy has developed an effective and influential music programme based largely on his training in Kodaly and Dalcroze, undertaken alongside his teaching. As a primary music expert, Jimmy and the music pedagogy of Feversham (up to six hours of music per week) have been featured in The Guardian, on the BBC, and in podcastsYouTube videos and teaching magazines.

Jimmy talked about his mission to get the music of his many Muslim students more widely recognised. Like Alisa, Jimmy has a professional arts background – in music performance, a record deal and working in the industry.

Jimmy told us: ‘I have had formal music training. I just always found reading music far more difficult than someone of my musical ability should have done. It wasn’t until I discovered alternative ways of developing musical reading that my own ability to read music managed to catch up, and I discovered that all children could learn to read music well if taught in more child-friendly ways‘.

He bases his teaching largely on singing, rhythm and body percussion. You can read more about his ethos and methods here. His book (to be published in the Spring) will explain his methods to other music and performing arts teachers. 

We were impressed by the time, effort and dedication that Alisa and Jimmy spent working with the Early Years and reception children and staff. It was clear that, through the arts, the school were building skills and confidence from a young age. On our visit to this area, we enjoyed the subdued lighting, stand-up easels and attention that had been paid to creating a warm and inspiring environment. As a demonstration of how Jimmy has embedded his approach to music across the school, a group of reception children were assembled to participate in a spontaneous singing and movement session.  

As well as music, singing, quilt making and the Arts Studio activities, students had been working in collaboration with the Joss Arnott Dance Company.

The school is currently undergoing extensive expansion. The main hall has already been extended to incorporate a stage and the new site will include an updated music room. The transformation continues.

Feversham is a story of how arts pedagogy, arts leaders with professional arts backgrounds, and the creative application of continuing professional development can transform a primary school, drive the curriculum and inspire many others beyond the school gates.

Our thanks go to Arts Lead Alisa Yates for showing us around, to Senior Leader (Music) Jimmy Rotheram for his time and insights, and to all the staff and students at Feversham for their warm welcome.

Collaborative Creativity at Kelsall

On our recent travels around England visiting arts-rich primaries, we have noticed that many schools have developed, and continue to grow their arts-richness through a close working relationship between the Head Teacher and the Arts Lead. This is one of our ‘emerging themes’ – something we will explore in more detail later.

One such creative double-act are doing wonders for the arts at Kelsall Primary school, a rural village school about 4 miles away from Tarporley in Cheshire.

While we have met other dynamic arts duos on our travels, what was perhaps most interesting here is that Head Teacher David Wearing and Arts Lead Jon Clayton have developed their visual arts skills, ethos and pedagogy alongside, and in combination with their roles at the school. 

While their active status as musicians pre-dates their days at Kelsall (David has been here for 10 years, Jon for 20), neither had a background in the visual arts when they arrived. Jon told us how his passion for visual art and his ‘loose’ experimental style took shape through primary teaching.

As examples of idiosyncratic primary arts practice and pedagogy, we were drawn to these Year 2 pieces from recent visits to the nearby woods:

Under Jon’s tutelage, the students at Kelsall have developed a distinctive semi-abstract style based on the extensive use of sketching, reworking, and a ‘no mistakes/no rules’ approach to art making. Jon explained to us how after building basic skills through structured lessons, the students could enjoy the freedom, independence and confidence of art making. He encourages the students by telling them to ‘go with it’ and asking for their thoughts. Jon repeatedly referred to the children’s sense of joy and play when creating art in this way.

Displays included students pictures of animals (gorillas, tigers, orangutans, deer, turtles, crows, etc.), self-portraits, buildings, Guernica, and astronauts. They were using art to explore issues of plastic pollution, endangered species, refugees, war and other subjects.

While Jon told us that the students’ art was always based on something tangible, he described how working in semi-abstraction avoids many of the frustrations that students encounter then they strive for realism and a closely copied photographic approach. ‘They’ll always be rubbing out’, he explained.

Jon and David were also creating their own artwork in the Art Room, after school and in the holidays. Their work was stored alongside the students’ work in the Art Room and other spaces in the school, there to inspire students and to use as explanation of techniques and approaches. Both men self-published a series of books of their art works. These could be found in corridors and classrooms.  

The students’ work had been entered in many local primary arts competitions. David told us that the school had voluntarily withdrawn from many of them in order to let other schools win occasionally (!). 

Kelsall’s whole school curriculum is based entirely around ‘high-quality’ books, used as ‘pathways’ to link specific artists, topics and issues. For example, there is a display of ‘No Outsiders’ portraits in the reception area.

As with all of the arts-rich school we have visited (browse this blog for more examples), there are many more arts activities taking place at Kelsall that could not be covered in any detail in a short blog piece. The short list for Kelsall includes:

  • A full-size statue of Nelson Mandela and extensive Black Lives Matter art works in the reception area
  • Twenty glockenspiels (!) plus equipment and performance spaces for the school Rock Band and other performance work
  • An in-development Room 13-style student-lead outdoor arts space
  • Gilbert and George

Thanks to Head Teacher David Wearing and Arts Lead Jon Clayton for inviting us into your school and to the students of Kelsall for sharing their experiences of their arts-rich education.

Local and global diversity at Gomersal Primary

Gomersal is an arts-rich primary school less than 10 miles from Bradford, Leeds and Huddersfield, situated in extensive green space. Deer and sheep are regular visitors to the woodlands that adjoin the school.

During our tour of the school, we saw many student art works created during class walks to the nearby woods and fields: flowers, insects, leaves and trees were all used as inspiration for work in textiles, ceramics, painting and installations.

Year 4, 5 and 6 students told us about their many visits to local arts places. The school has links with the nearby Longside Gallery at the Yorkshire Sculpture Park. The children talked excitedly about the work of Henry Moore, Andy Goldsworthy and Barbara Hepworth. They had recently created figures in the style of Antony Gormley who was born just 3 miles from the school. 

Students also spoke about their visit to the nearby David Hockey-associated ex-mill now art gallery and studios Salts Mill. Some mentioned going to the art gallery in Cartwright Hall, just 7 miles away, with their families to see pieces by Hockney, Anish Kapoor and LS Lowry.

In the legacy of Titus Salt and the dominant local industry of the 19th and early 20th centuries, the school had just secured funding to set up a textiles base that will help raise the profile and standard of textile work in this and other local schools. 

As well as the richness of the arts and culture in the immediate area, we were struck by the diversity of the art forms and artists with which the students were working. 

Much of this was either on display or being created in the large, light and vibrant Art Room. Our tour of the school coincided with a class doing a printing project. 

The Art Room was full of the students’ art work; Celtic crosses, shop fronts, skeletons, skulls, dresses and masks packed this busy space. 

As academics and researchers, at home in libraries and archives, we were thrilled to see these roller storage units being used for the copious arts materials. 

The Art Room also contained its own library: the books here covered a dazzling diversity of artists and their art.

Our photos don’t capture the music that was playing while we were in the Art Room, or the buzz of excitement from the children as they created their prints.

Speaking of music, one of the parents and school Governor is Andi Durrant, a high-profile DJ, producer and broadcaster. He now takes time to teach the students how to use the equipment in the music production/radio room – a well-resourced facility stocked with sample pads, midi keyboards, sampling and sequencing software, a mixing desk and microphones. Students had been creating own dance music recordings.

The sense of diversity extended to the themed art works that were on display from recent cultural and religious celebrations – Dewali, Hannukah, Black History Month, Bonfire Night, and Remembrance Day.

The striking minimalistic art works in the library took us back to our childhoods and returned us to the school’s immediate environs. The creator of The Mr Men and Little Misses, Roger Hargreaves, was born and raised in the adjoining village of Cleckheaton.

Finally, we saw some bespoke paintings which included lines from a poem, co-created by staff and students. Located in and around the Head’s office, they seemed to sum up the whole-school arts-focussed ethos that underpins this, and the other arts-rich primaries that we are privileged to visit during our RAPS research project. 

Thanks to Head Teacher Melanie Cox and Arts Lead Mandy Barrett for their warm welcome, insights, guided tour and coffee.

Artists and Art Auctions: Palm Bay Primary, Margate

Art leader t-shirt. Screen print. Green shirt, black letters

In the arts studio cabin at the front of this beach-top school, five artists-in-residence (A.I.R.s) work and teach. In exchange for the use of the space, the equipment and the materials, the artists work directly with the school’s Young Arts Leaders (YALs) and increasingly, with teachers and staff at drop-in sessions, such as the Clay Club. We were lucky enough to visit this multi-functional space and talk with two of the artists as well as watching the YALs working on their ‘Arts Leader’ screen print t-shirts.

Palm Bay arts studio cabin - painted white
Artist-in-resident Sara Jackson

Artist-in-resident Sara Jackson, a Fine Arts graduate, talked about being inspired by spaces. She had created art from sail cloth and worked in the nearby caves and other seaside spaces.

Artist-in-resident Mellissa Fisher

Fellow A.I.R. Mellissa Fisher, a graduate of the innovative art/science Broad Vison programme, told us of her interest in nature and the body and how art can make the invisible visible. She was working on a body-cast piece with lots of ears that explored tinnitus. She has previously created (grown?) ‘living sculptures’ from the bacteria on her own face.

Large wall size artwork

This focus on organisms was a good metaphor for the organic ways in which the YALs learned from these artists before passing their new understandings on to their classmates, and to the general public for whom they offer guided art tours at the nearby Turner Contemporary. ‘Art is about sharing’, Mellissa told us.

The influence of the YALs, the A.I.R.s and the school’s top-down commitment to the arts was evident in the abundance of art works framed and displayed on walls and in corridors.

YALs started as a four school project back in 2017. The programme works in partnership with the Turner, and is a product of the Art Inspiring Change project that has included 20 parents and fostered children’s leadership skills, alongside their substantial engagement with the arts. The A.I.R.s told us how through the arts, the YALs were learning how to solve problems, collaborate, and visualise. They talked about how the arts gave the children the opportunity to dig deeper and ask profound questions about the very nature of art.

Students print making display

The A.I.R.s were just one way Palm Bay were using to maintain and develop their arts-richness by providing high-quality materials and experiences. Arts lead Mel Tong has developed an Art Auction. This year, 70 pieces have been donated by a mix of high-profile local artists and designers, and parents/family members. The event has grown in size and profile over the last four years or so. Initially held in the school hall, this year’s auction will take place in the Turner.

Palm Bay students' sketch books

The auction is conducted by local celebrity potter, and long-term supporter of the arts at Palm Bay, Keith Brymer-Jones, and attended by the local community. Mel told us how the proceeds have funded a kiln, printing materials, theatre visits and support all of the arts provision at the school.

Mel encourages the students to keep reworking their art. ‘There’s always something more that can be done’ is her message. The artists-in-residence and the art auction were developed in response to frustrations with the limitations of arts materials and arts budgets. These initiatives are evidence of Palm Bay’s ongoing commitment to the arts, and to the creative, innovative ways of meeting the inevitable challenges.

By the way, when we arrived in the rain in the morning, the arts studio was white (see above). When we left at the end of the day, it was covered in colours and design selected and created by the students. And it was sunny. The transformative power of the arts!

Palm Bat arts studio cabin - painted in bright colours and bold geometric designs

Our first RAPS visit: Sidegate Primary, Ipswich

It’s not everyday you get to meet the Prime Minister or the Secretary for the Arts. So we were excited to have the opportunity to ask them probing questions about the arts in primary schools, or, more specifically, the arts in their primary school.

Because these dignitaries were all in fact students at Sidegate Primary in Ipswich, the first school that we visited in the RAPS project. The school parliament (all the members were proudly displayed in the foyer) and the dedicated Arts Council were clear signs that Sidegate was taking the teaching of democracy and the student voice seriously. As we found out, this dedication to student-centred and collaborative learning activities ran through the many arts projects that we saw and heard about.

Sidegate is a school of around 650 students set just outside the town centre with a long established commitment to the arts. Staff could not remember a time when the arts were not central to the school’s curriculum and ethos. This history was evident in the large stained-glass window that commemorates the school’s first 75 years. The students who showed us around said that every child got to insert some coloured glass into the design.

Displays of art covered the walls and ceilings of the corridors, classrooms and other spaces. The large bird-like display in the main hall was mentioned repeatedly during the focus groups that we conducted with students. Each of them made a coloured feather to contribute to the whole. The experience was obviously memorable and meaningful to them. The students talked repeatedly about teamwork in the context of artistic creativity.

Butterflies, caterpillars and chrysalises were everywhere at Sidegate – hanging from the ceilings and climbing up the walls.  This was a whole-school creative project that embraced the themes of hope and change after the challenging months of being in lockdown. The metaphor of transformation was apt; a large choir was rehearsing in the main hall, their first chance to sing together in many months.

We were lucky enough to meet Trunks, an elephant who had long inhabited the school’s heated swimming pool but was now roaming a classroom. Trunks had been part of town-wide project that took the students’ collaborative ethos (each of them had decorated Trunks with their thumb print) into public spaces.

There was another public-facing arts example of Sidegate’s collaborative spirit on the waterfront, this time in the form of a long mural of sea creatures that had been created by a number of schools. The word ‘Sidegate’ and the colourful paintings must be the first things that many visitors to Ipswich see, as they were for us.

The Arts Council had lots to say about how they wanted to make the arts more enjoyable so that everyone in the school would want to get involved, and for there to be more arts (even more!) in the school. Their comments showed a nuanced understanding of the value of the arts in people’s lives (including adults) and a desire to diversify the arts that they do in school.

Thanks to Arts Lead Jane Ryder and all at Sidegate for a warm welcome on our first visit.

What is an arts rich primary school?

Story-tent

We have now begun the crucial process of selecting arts rich primary schools. We’ve made an initial list form various awards and networks that we know about. We are speaking with the youth arts bridge organisations next week and we know that they will add to our beginning list, and also help us to refine it. These organisations have very good knowledge of schools that are active in arts education.

As part of the selection and recruitment process, we have thought more about what arts richness might mean in the primary sector. We expect our research to test out these initial selection criteria and also to allow us to go much deeper.

Here is the information we sent to the youth arts bridge organisations ahead of our meeting.

We are looking for nominations for a long list from which we will select 20 arts rich schools. Schools will be selected to ensure a balance of location, size, sector, population. We are primarily interested in state schools that serve both ordinary and disadvantaged communities. We are considering the possibility of focusing on some locations, but also do not want to miss any interesting outliers. We want to avoid “over-researched” schools.

These are the criteria we are working with at the moment. Individual schools may not meet all of these criteria, and we are looking for different combinations. We would like to construct a sample that allows us to focus on a mix of art forms. 

  1. The arts are part of the school identity and school culture. They are integral to who they are and what they do each day. The schools have a long history of arts and cultural education. The arts are not used simply for promotion.
  2. Resources are allocated to the arts and material space is made for them. There is visible “kit”.
  3. There is a broad and balanced curriculum in which the arts are taken seriously – the arts are integral to the curriculum on offer to all children. There is regular and separate teaching of “arts subjects” – there is a curriculum plan which shows the sequential development of theory and practice (knowledge and skills). Children understand the arts to be important. The school may specialise in one arts subject, but does not ignore the others.
  4. There is a coherent and explicit philosophy for teaching the arts which underpins the selection and nature of key concepts and skills.
  5. The school has productive partnerships with arts organisations, including galleries and museums, local artists, and arts in the parent community and neighbourhood. The school is permeable, acts as a hub.
  6. The school is connected to local, national and/or international networks which bring arts resources, conversations and practices – post pandemic these may be strongly geared to the digital.
  7. The school has specialist staff or consistent access to arts expertise (bought in, artists in residence).
  8. There is a strong arts lead with time and resources. Staff, including the lead, have continuing PD in the arts.
  9. There are extra-curricular arts activities.
  10. The arts are included in work and careers focused education and activities.