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The reassuring knowledge of the HGV driver: how schools could benefit. Number 4 in the series: Knowledge, traffic and arts based research.

There’s a lot to be certain about when you’re driving a truck. You know you’re more imposing than pretty much else on the road. You can see more, anticipate more and from the elevated position of your cab, can reflect more on the foolishness and antics of lesser road mortals. Your philosophical reach matches the miles measured on your tachograph.

You know it will take you a good half mile to stop should you decide to break: you’d be better off making an appointment with your gear box to slow down, rather than rely on acting in the instant. You know you are carrying out some vital economic, social or cultural function: moving widgets by the million or self build furniture to homes bracing themselves for the arguments that will leap out of the box the moment they slit open the cardboard with a stanley knife.

Safe in this knowledge, the HGV driver reflects many schools approach to teaching children. They know the curriculum and navigate it with confidence; they will take a long time to slow down and change direction and are secure in the belief they are undertaking vital economic tasks: training the youth of today to be the economic generators of tomorrow.

However, HGV drivers have their achilles heels too. Their inability to see very much behind them and their innate inertia means they cannot respond easily when faced with an immediate accident in front of them on the Euston Road. They can easily jack-knife and cause hours of disruption for hundreds of fellow travellers if they spill their widget load over the Queens Highway. Their security in their knowledge is fine in times of certainty and if no-one else is on the road. These days however, nothing is certain and traffic is an inevitable consequence of venturing out on the road for everyone. “Don’t blame the traffic – you are traffic” as some bright spark in the automotive industry recently wrote.

HGV drivers, like cyclists and taxi drivers, could benefit from a course in art based research: the understanding and knowledge this would generate would help them become more nimble movers, respond more effectively to the needs of other members of the traffic stream and give them a sense of humanity when it comes to carving up a motorbike on the inside lane.

More travel knowledge here.

The transgressive knowledge of the cyclist: who the f#!? do they think they are? Number 3 in an the series: Knowledge, traffic and arts based research.

Whilst the knowledge of the taxi driver is in a state of crisis, and the knowledge capacities of the bus driver under-exploited, the knowledge of the cyclist is both stable and fulfilled. Stable  in the sense that they know how to get where they want to go (ie sit on saddle and peddle like crazy) and fulfilled in that there are unlikely to be any surprise passengers on the bicycle, hiding in the pannier bags ready to spring a few narrative surprises…

The cyclist knowledge is also trangressive and reflective of some problematic identity resolutions. One minute they are a law abiding traveller on the nation’s roads, the next they have become pedestrians on wheels, oblivious to the demands made by red traffic lights or pelican crossings. This transgressive performativity (identity is not who you are, it’s what you do) may provide them with additional epidemiological insights, but it also causes wider concerns amongst fellow travellers. ‘who the f#!#do they think they are?’ being a common rhetorical question posed by car drivers, relatively ignorant of the knowledge capacities of the cyclist when witnessing their delight in swapping identities.

This is the cyclist’s dilemma.  Their transgressive capabilities, whilst providing them with new insights into contemporary travelling insights is generated at a price: existential questions of who do they fundamentally think they are.

Arts based researchers would help them resolve these questions through the suitable application of a course of graffiti, bricolage and spoke-art. The nation’s roads would become safer as a result.

More travel knowledge here.

The benefits of the bus driver, epistemiologically speaking. Number 2 in an the series: Knowledge, traffic and arts based research.

The double decker bus driver has the resources of at least 11 on board CCTV cameras on their bus.

This gives them the benefit of knowing where he or she is going. They know too, pretty much, how they’re gonna get there, how long it will take and these days, with the added value of GPS, know what the conditions are going to be like ahead of them. They will also know that in large cities especially, the traffic lights will be rigged in their favour.  They may not know however why they’re going where they’re going – but that kind of existential question is also beyond pretty much every taxi driver too so they’re both in the same boat in that respect (NB boat – not taxi or bus).

The main significant advantage of the bus drivers knowledge however is the fact that should he or she wish, they have access to upto 56 other people’s knowledge about the reasons for their journeys. This would give them a superior knowledge of the traveller and their lived experiences: adding to the ongoing epistemiological crisis of the taxi driver who these days neither knows nor cares why they’re going somewhere, how much it costs or even how to get there.

Of course, the bus driver may not have the time or skill to elicit those knowledges from their passengers. This is where arts based research can play a major role in making the bus journey a much more enriching experience for everyone. They will make living the good life, an even more likely proposition.

More travel knowledge here.

Imagining Chris Thompson: an original Geordie mother of invention

Chris Thompson was a Community Arts graduate from LIPA who died 5 years ago this week: but some images of Chris which have stayed with me over the last 15: images which suggest a powerful, creative, expressive artist who didn’t pay much attention to the rules, who didn’t know when to stop – but who did  know intuitively and compulsively how to capture, thrill and entertain an audience.

Watching Chris in rehearsal or on stage, you always had the sense that he was about to take you on a roller coaster of theatrical  thrills and spills – he’d tear off your safety harness, lock you into the front seat – and then, like a figurehead at the bow of a ship, perform to blazes, completely fearless in his imagination and shameless in his performance.

As a 1st year student wielding a large kitchen knife borrowed from the LIPA canteen one Friday afternoon;  as an actor pleasuring himself in the window of the college library during performances of The Tin Drum; and as film actor in My Life as an American, Chris’s muse and inspiration – Frank Zappa – was always close to hand – and we, his audience, were privileged to see our very own extreme Geordie artist in action: and we will miss that energy, imagination and vivacity. As Zappa said in the International Times in 1970 once he’d dissolved the band which took him to international prominence – and as Zappa might have said of Chris himself: The Mothers of Invention, infamous & repulsive rocking teen combo, is not doing concerts any more. Frank – you’re in good company with Mr. Thompson – make sure he’s still riding that roller coaster when we join you both and when it’s our time to leave the funfair.

Lifelines – how to use arts based research to help improve local health services

We’ve all been ill at some point in our lives and many of us may have called on the help of the NHS to help us through those difficult times.  Even if we’ve been lucky enough not to have to needed their help, we’re all too well aware these days of the importance of staying fit, keeping healthy and doing the right thing for our health and wellbeing for ourselves and our families.

But sometimes this is more difficult than it sounds. Sometimes the services  we need are difficult to access; sometimes it seems that health professionals aren’t listening to what we’re saying; sometimes we know more about our health than those professionals do and it can be frustrating for our experiences not to be heard and acted upon.

Lifelines was a  South Liverpool research project has a made a modest contribution to changing all that.  Working with artists from the Aspire Trust and health professionals from Liverpool Primary Care Trust, we ran an arts based research programme across South Liverpool which listened to residents’ experiences of  local health care services: and are now using those experiences to improve the health for future generations in the community.

We generated story telling, poetry and arts techniques  to  understand critical moments in the health experiences of South Liverpool residents. We produced into a book, audio recording and exhibition which toured South Liverpool and went onto the Bluecoat Arts Gallery in Liverpool, as well as a formal research technical report for the policy makers.

As well as some important findings which have been reported back to the PCT, GPs and other health professionals in the region, the project identified some important aspects of why arts based research is useful in health contexts: its non-invasiveness, its ability to generate responses from participants rather than interrogate – and its ability to co-construct data with research participants rather than mine it from their souls.

The Mars Bar model of research: a state of work, rest and play

Conference kicks off this week with a motley gathering of arts based researchers at BERA, the international education conference at the Institute of Education, London. But what’s arts based research? Surely that’s an oxymoron?

ABER: early moments and awakenings

The foundations for arguing that arts practice contributes in new and valuable ways to research methodologies can be traced to Elliot Eisner amongst many significant others. His presence at the first ABER conference in Queens University Belfast in 2005 marked perhaps a ‘Spring Awakening’ moment for many young researchers who had started to  explore this area of research which had challenged and inspired many of their more mature colleagues over recent years.  It led, amongst other intended and unintended consequences, to the establishment of the BERA ABER SIG in 2010, convened by Dr. Nick Owen of the Aspire Trust, the Merseyside based Arts Education specialists. Lesley Saunders summarised the arguments for Arts based research in 2009 thus:

  • ethics:  the researcher gives up claims to objectivity and the particular kind of expropriation of others’ identity and experiences to which that leads  and lays claim instead to imaginative sensuousness or to passion as more plausible forms of authenticity;
  • life-likeness: narrative, images, evocations, recollected memories, dance, group drama and so forth are much more like the lives people lead than are purely rational prose accounts or numerical data;
  • epistemology: we need representations of knowledge which themselves enact and make manifest – through ‘bricoleurship’ – the provisionality and ‘fuzziness’ of knowledge in the social sciences;  and we also need to recognise that the arts create a different kind of knowledge – ‘not the goal of curiosity but the fruit of experience’[1] perhaps – with which we can enrich social, particularly educational, research;
  • expression: the language of academic research should divest itself of the ‘managerialist’ and ‘performative’ discourse which has infected it, and be more like poetry in its sensuousness and felt emotion;
  • the unconscious: the gifts of the non-rational mind – memories, dreams, reflections – should be welcomed as part of the cognitive project of inquiry for understanding
  • education: these modes of engaging in inquiry are in themselves educative, artistically and socially

The BERA ABER SIG: 3 acronyms upon we rest our work

The BERA ABER SIG (or British Educational Research Association’s Arts Based Educational Research Special Interest Group for the unitiated) aims to provide new opportunities in Arts Based Educational Research  by supporting and advocating rigorous,  and inter-disciplinary arts research practice which connects theory, research, practice and policy on local, regional and international stages.  We aim to provide connections within and across these constituencies in order to:

* Provide expertise and guidance in arts based research, practice and theory for universities, teacher training and arts organisations;

* Develop, lobby and advocate for practice which is built on principles of social justice, innovation, challenge, collaboration, rigour, scholarship, excellence and purpose;

* Encourage new conversations and dialogues between diverse agencies and organisations.

* Provide a platform for  theoreticians and practitioners working in arts, education and other fields to discuss, share and reflect on research practice and outcomes, both illuminating and problematical.

Whilst these aims are necessarily aspirational in nature, they are also presented within an overall spirit of ongoing challenge and enquiry:  ‘inclusiveness’, ‘rigour’ and ‘social justice’ are all terms for example which the field constantly contests and this dialogue will be encouraged and stimulated through the activities of the SIG.

THE ABER BERA SIG: playing for influence, change and recognition

Whilst the work of ABER is variously playful, challenging and sometimes bewildering, we are highly serious in our intent.  We have been working together to

* Explore, support develop and critique  arts-based educational research theory and practice across differing educational contexts through a series of annual seminars which are held inbetween annual BERA conference;

* Co-ordinating and lobbying for publication in significant educational journals, presentation at international conferences;

* Advising on training and developmental opportunities for artists, researchers and other practitioners who wish to extend their expertise in the field.

For further information on arts based research and how it relates to other research disciplines please have a look here: http://content.yudu.com/Library/A1szjh/BERASummer2011/resources/index.htm?referrerUrl=http%25253A%25252F%25252Fwww.yudu.com%25252Fitem%25252Fdetails%25252F364631%25252FBERA-Summer-2011

Watch out for those shaking research foundations!

(Adapted from Research Intelligence, Summer 2011)

Unleashing the Unwanted on the Unexpecting: teachers responses to creative moments

Picture a small Welsh Hotel in late February, fresh with glimmers of early spring sunshine reflecting optimistically off the grey Menai Straits. Thirty Primary Head Teachers, Education Action Zone Directors and LEA officers converge on the small town of Beaumaris for three days of discussing, planning, evaluating and reminding ourselves of the local nightlife. And Learning about Creativity. The sessions start promptly and we dutifully sit through workshops on the Extended School, School Leadership, Teaching and Learning, Special Educational Needs and a myriad of other agenda items which seem to flood into Head Teacher’s offices daily from on high. The tide of initiatives is unrelenting. Social Exclusion, Gifted and Talented, Learning Mentors, Accelerated Learning, E-credits, The Primary Strategy and now Creativity is on the agenda.

The message from up the food chain is that Creativity in the Classroom is now officially important. Word has passed down to all of us in the way that much communication is processed in education: people deliver monologues and soliloquies at each other. Government at the LEAs and Head Teachers, Head Teachers at teachers, and teachers at pupils. Monologues which like to think they’re dialogues, but in fact are rules and instructions dressed up as advice and ‘good practice’.

But first, before the creative potential of the Classroom can be released, it is our turn to participate in a Creative Workshop. We face the impending session with a mix of suspicion, interest and hangover. In some quarters there is a distinct unease about what is about to unfold. We are presented with a creative task. We have been told we are going to listen to some music and then, in response to this stimulus, we are to create a poem, make some music, prepare some movement and put the whole thing together into a presentation for the end of the afternoon. The music is Liadov’s Enchanted Island and Holst’s Mars from the Planet Suite, two too- obviously contrasting pieces of ‘classical’ canon fodder which instruct you to think ‘ooh, peaceful’ on the one hand or ‘cor, angry’ on the other.

We set out to magic up a piece of creativity in the wake of this piece of emotional and psychological manipulation, doing as we are asked in a well-behaved-group sort of way and having a lot of fun and discussion whilst preparing our various contributions. One of us opens up frankly about her unease about being asked to write a poem. Another, mightily irritated with how the original sources of music has been applied so didactically, writes a free-flowing rant in the Seething of Tunbridge Wells style of old which uses the f-word in a novel and liberating style.

https://drnicko.wordpress.com/2011/09/04/poetry-on-the-hoof-what-are-you-trying-to-sell/

This makes lots of us laugh heartily. We like to hear the f-word very much, so that the author is encouraged to repeat it in rehearsals as often as possible. Quite whether we would be happy to hear it in our classrooms is another matter entirely. Whilst we can be as creative as we like as responsible adults, allowing that old Anglo- Saxon English the free run of the modern classroom with a group of excitable and hormonally-drenched pubescents is quite another matter.

One of us notes that some kids in schools are like of bottles of Coke – you do not know if they have been shaken up before they come into the classroom or not, and if your efforts at unleashing their creativity are going to make them explode. That is one of the problems of creativity: how do you ever replace the top on the bottle once it has been opened?

Given that pupils’ experiences of schools these days is driven by the need to comply and meet targets… Given that it is about responding to and adapting to the hierarchy; listening (or pretending to listen) to the monologue being talked at you, about formulating your own version of that monologue and then delivering your take on it at someone else (a phenomenon also known as bullying)… Given all that, how is it possible – and is it even desirable – for creativity to flourish?

The tension generated when creativity is placed up alongside learning in schools is that the former is fundamentally about dialogue and collaboration. It is not about talking to yourself or foisting your own monologues on others. Whilst some Head Teachers stress that more enlightened teachers are teaching creatively by acknowledging their pupils’ differing learning styles and recognising multiple intelligences, the act of creativity itself is a process which demands a physical, psychological and metaphorical wrestling with demons, unpleasant and unwelcome impulses, significant others, parents, partners, neighbours, the hell of the past and visions and delusions of the future. It is, crucially, as much an act of destruction and chaos as it is about vision and creation – as much about killing your babies as it is about bringing them up.

Are we serious about enhancing creativity in our classrooms and our pupils’ learning experiences? If so, what is to be done in a climate which views creativity solely as a one-way ‘making’ process, is terrified of the correlatived yet essential ‘breaking’ process, and continues to rain down monologues day upon day?

Is your boss acting like your parent? The pint that thinks it’s a quart.

In the name of keeping a friendly face to their workforce, some bosses think that they can put a friendly arm around you – or if you’re really unlucky place their tongue in your ear – and act in a semi parental way when enquiring about your health, family relations, social life and general demeanour and performance levels.

They rationalise this as demonstrating a concern for their employees, arguing that as a holistic learning, family friendly employer (for example) it is in everyone interests (including yours) for them to become your mum or your dad. This includes doing things like telling you to tuck your shirt in, put your tie on straight and speak nicely to the noisy neighbours.

They don’t realise that the last thing you need in your life is another bloody parent as the two you already have –or have had – are quite enough, thank you very much.

The boss who likes to think he or she is your surrogate dad or mum are like that old beer advert; the pint that thinks it’s a quart. They tend to see the workplace as their own personal fiefdom where everyone is some kind of subservient relationship to them; you are their prodigal son, their daughter, their wayward cousin, the nephew they always resented.

Whatever family role you find yourself playing, one thing is for sure: they don’t see you as their equal. One solution is to reverse roles and become – however temporarily – their hypercritical mum or dad.  Scold them ferociously; hug them harder than they hugged you; remind them of their embarassing faux pas at the last office party: whatever you do, don’t let them get away with sticking their tongue in your ear.

Frozen is the new fresh, horse is the new beef and I am the Count of Monte Cristo.

The MD of Unilever enthused 5 years ago to a conference of school teachers and chlldren that creativity is essential for business success. He suggested that creativity should be at all levels of the business, “not just the top”.  He referred to various examples – Virgin Airlines  (apparently an airline which makes you feel special every time you travel on it), Top Shop  (“many of you go to top shop and can now buy high fashion at affordable prices” and the café chain Patisserie Valerie (which makes you feel like you’re in France allegedly).

He said that Unilever needs to recruit people who think differently, people who can work with you, not for you, and leaders at all levels of the organisation whose task was to ‘clarify what was wanted, be a voice from the front, encourage risk taking and awaken peoples passion.’  An example of what he meant by passion followed on film –  a 5 minute advert for Findus foods which was to indicate how his employees were having their passion awakened by the generation of new products and ideas: frozen vegetables.

He finished his sequence with questions from the conference panel: ‘are schools doing enough to generate creative ideas for business’ and ‘how could you make sprouts more appealing to children?’  His final comment, in some joking aside about the issue of school dinners… ‘our frozen food is fresher than fresh food… Frozen is the New Fresh’: now makes a lot more sense 5 years later with the recent horse meat scandal.

Now we know that ‘creativity’ is often an excuse for all sorts of linguistic shenanigens and that teachers at conferences on creativity and education often have to swallow a lot of frogs when it comes to assessing what is ‘good practice’.  But in the era when  Frozen can be the New Fresh and Horse can be the New Beef then I can clearly become the Count of Monte Cristo.

The porkie pies that Findus have been unashamedly peddling for years are at least out in the open although you might reasonably wonder whether there is something else other than pork in those pies.  Over-enthusiastic marketing is built upon a lot more than reconstituted delusional seaweed.