Bolton School Journal of Creative Learning & Partnerships - Issue 1

CERI - Centre for Educational Research and Innovation

The Bolton School Foundation’s Centre for Educational Research and Innovation, draws a continuous connection between theory, practice, research and application.

Our aim is to ensure Bolton School is at the forefront of educational and pedagogical development, both nationally and internationally.

The opportunity to innovate, refine and develop is a necessity in the teaching profession. The Centre facilitates both research engagement and adoption as well as supporting action research.

The CERI has a pivotal role in working alongside teachers to investigate impact in the classroom of innovation. Foundation wide, we are well equipped to test emerging theory and to understand what will give the greatest benefit to students. As an Apple Distinguished School (ADS), we innovate and integrate the best of educational technology. As an Artsmark Platinum setting, we are dedicated to exploring creative and cultural learning to its fullest potential.

The Centre works with staff across our Primary and Senior Schools but also looks beyond to collaborate with external institutions, both universities and other schools seeking to share and develop knowledge and understanding of what helps children and young people to learn.

RESEARCH & INNOVATION

CREATIVE LEARNING & PARTNERSHIPS I s s u e

1 | M a y 2 0 2 3

Themes in this Edition N O I TA R O B A L L O C GNISSESSA

NATIONAL ACTION RESEARCH PILOT WITH RETHINKING ASSESSMENT in which Junior and Senior School collegues employed Bill Lucas and Ellen Spencer's 5 dimensional model of creativity and a split-screen learning approaches to explore the development and assessment of collaboration as a skill for learning. This project emphasised the importance of selfaware synthesis of multiple perspectives and diverse experiences in the classroom.

Y TISOIRUC L AU T C E L L E T N I GNISSESSA

CURRENT ACTION RESEARCH IN THE DEVELOPMENT & ASSESSMENT OF INTELLECTUAL CURIOSITY in which teachers are focused upon teaching a skills progression from KS2 to 3, formalising assessment procedures. This involves designing assessment rubrics that capture the development of skills like critical thinking, problem-solving, and idea generation. Teachers have encouraged self-directed learning and inquiry-based activities to promote growth mindsets.

T N E M P OL E V E D E R U TL U C & S T R A LOOHCS-ELOHW

CASE STUDY OF PLATINUM ARTSMARK ACHIEVEMENTS AT BOLTON SCHOOL. Artsmark Platinum Award requires a commitment to providing high-quality arts education, including a broad and balanced arts curriculum, student leadership opportunities, and community partnerships. The school must also integrate the arts into their overall vision and values, and demonstrate the impact of their arts provision through monitoring and evaluation.

STRA Y TINUMMOC & S P I H S R E N T R AP N O I TA C U D E L A R U TL U C

AN INTRODUCTION TO KEY THEMES IN CULTURAL PARTICIPATION, forms of social cohesion and practical steps to guide inclusive and diverse cultural provision in formal and informal educational settings. Creating the case for deep learning through creative partnerships and community outreach practices.

Introduction Exploring creative learning and partnerships in education, this journal showcases best practices in fostering creativity, driving novel approaches in the arts and across the curriculum, working with emergent media and the community. It aims to inspire educators with innovative approaches to teaching and learning, foregrounding their impact on the whole child.

Excellence

Innovative creative education involves judicious use of nontraditional approaches, collaboration with experts and community partners, exploring diverse cultures and perspectives, and pushing boundaries to engage students in creative ways, fostering critical thinking skills and appreciation of the full range of human expression.

Health

Incorporating creative methodology into school curricula and purposeful cultural community participation promotes mental health and wellbeing among students. Greater Manchester Creative Health Region's strategy recognises the transformative power of the creative participation in this respect.

Creative Communities Blending community-based arts and culture practice with schools programming can deliberately cultivate democratic values and nuture cultural capital for children and young people. By providing opportunities for hands-on civic engagement and topical learning experiences, pupils can develop critical skills that have real impact in their communities and are transferable to their future careers. This approach fosters a more connected and engaged society, as children and young people become active contributors in shaping their communities.

Bolton School Journal of Creative Learning & Partnerships Published by The Centre for Educational Research and Innovation Bolton School © Bolton School 2023 CERI Director Helen Bradford-Keegan: Hbradfordkeegan@boltonschool.org Director of Creative Learning Naomi Lord: nrl@boltonschool.org Twitter: @BoltonSch https://www.boltonschool.org/ourcommunity/ceri-centre-foreducational-research-and-innovation

Foreword from Bill Lucas Bill Lucas is the Chair of the Advisory Committee at the Global Institute of Creative Thinking, and a Professor of Learning and Director of the Centre for Real-World Learning (CRL) at the University of Winchester. He was appointed by the OECD as co-chair of the strategy group for the 2021 PISA Test of Creative Thinking, and invited to join the Durham Commission on Creativity in Education as an academic adviser. Bill is a prolific author of popular books on learning, creativity, and change, and is highly sought after as a speaker and facilitator of learning. He is also involved with several other organisations, including The Tony Little Centre for Innovation and Research in Learning of Eton College, the LEGO Foundation Advisory Board, and Australia’s Mitchell Institute.

Across the world curricula are changing in recognition of the widespread view that, in addition to subject knowledge, young people need to develop certain key dispositions or capabilities in order to thrive today. Such dispositions broadly fall into two categories; those which might be described as concerned with the development of character (ethical understanding, for example) and those which focus on a wider set of skills (such as creativity, critical thinking or collaboration).

Nearly a decade ago, at the Centre for Real-World Learning (CRL) at the University of Winchester and in partnership with Creativity, Culture and Education, we developed a five-dimensional model of creativity for schools in the UK. At the time there were a small number of definitions of creativity, often inspired by the work of Sir Ken Robinson (National Advisory Committee on Creative and Cultural Education, 1999). But there were almost no attempts to move from definitions of creativity or creative thinking to a more detailed description of creativity in practice in schools. Our model does just that and is now used across the world in more than thirty countries.

In parallel to our research into how creativity might be operationalised in schools, we also looked at research into how it might be assessed in a school context, something that was not attempted in schools (Spencer et al.,2012; Lucas et al. 2013). Some teachers we interviewed at the time thought that any attempt to ‘measure’ creativity in young people was potentially reductionist, against the spirit of imaginative and divergent thinking and an unhelpful additional assessment burden for them to manage.

But the majority found the process helped them to be more precise about what creative thinking is, better able to select appropriate pedagogies and better equipped to track the progression of students’ creative thinking over time.

Assessment, pedagogy and curriculum are integrally connected. What you teach depends on what is assessed. How you assess depends on what is being taught and how it is being taught. Across the world politicians, employers, researchers, parents and all those who work in schools are waking up to the fact that today’s assessment practices are no longer fit for purpose. Currently the knowledge that is typically assessed is from a narrow range of subjects, rarely explored in depth and almost never inter-disciplinary. Practical knowledge and skill is not much assessed in general education and individuals rather than groups remain the focus. Complex, higher-order skills are rarely assessed in ways that recognise the subtleties involved. Many dispositions or capabilities known to be important in life are not assessed at all.

In the English national curriculum there is almost no mention of creativity. This may well change in the coming years as a result of the Durham Commission on Creativity and Education (2019) and the implementation of one of its recommendations, the establishment of eight networks of schools across the country which have been funded to act as testbeds for increased understanding of teaching for creativity.

The vanguard work of schools like Bolton is key to educational reform as they lead the way in exemplifying the possibilities for creative education unfettered by the limitations of national curriculum.

A JOURNAL FOR RESEARCH & INNOVATION IN CULTURAL & CREATIVE LEARNING

Cultural education, teaching for creativity, and building connections with community and cultural sector organisations are essential components of a well-rounded education. As we strive to prepare our students for success in an ever-changing global society, it is crucial that we expose them to diverse perspectives and provide them with the skills they need to thrive in a complex and interconnected world.

In this ever-evolving landscape, by embracing these principles, we can create a dynamic, engaged, and connected learning environment that serves the needs of all students, and prepares them for success in the future.

In this first issue of our Research and Innovation in Cultural and Creative Learning, we seek to explore and promote the integration of cultural education, teaching for creativity, and community engagement in education. The journal is split into three broad themes: facilitating collaboration, and intellectual curiosity, whole school arts and culture development and cultural education - within schools and placing schools in their local contexts.

Naomi Lord

Foundation Director of Creative Learning & Partnerships 3

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A key aim of this project is to help to transform teaching practices to ensure that students are better prepared for the challenges of the real world.

The full research reports can be read on the CERI website. https://www.boltonschool.org/ourcommunity/ceri-centre-for-educational-researchand-innovation

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A C T I O N T H I N K I N G

The philosophy of dispositional teaching is to cultivate habits in learners that will be valuable to them in school and later in life. Creative thinking is one of the key capabilities that young people need to thrive in the workforce of tomorrow. This action research project explored various pedagogical approaches and established classroom strategies to boost critical and creative thinking skills. It also began to explore School’s innovations in adopting these approaches via cocurricular experiences to support learners' growth.

C R E A T I V E

Junior School and Senior School staff participated in a national creative thinking action research pilot for English schools led by Bill Lucas from the University of Winchester's Centre for Real World Learning, in conjunction with Rethinking Assessment. Through this project, teachers explored new ways to enhance student learning and engagement by incorporating innovative assessment methods and creative thinking strategies. By working collaboratively, teachers were able to share their experiences and develop a deeper understanding of what enhanced students’ learning.

R E S E A R C H

Development of C re a t i v e ULTIMATE Learning – Five JEWELRY A c t i o n R e s e a rc h P ro j e c t s

RETHINKING ASSESSMENT COLLABORATION

ULTIMATE JEWELRY

C R E A T I V E

T H I N K I N G

A C T I O N

R E S E A R C H

Naomi Lord Foundation Director of Creative Learning and Partnerships

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As an interdisciplinary arts and humanities educator, I have extensive experience in developing and managing arts programmes in both educational and community settings. My key areas of interest and expertise include whole school arts management, creative thinking and project-based learning, educational partnership development, community arts, youth voice, embedding inclusive practice, and grass-roots stimulation of cultural capital. I am a steering member of Bolton's Cultural Education Partnership and Cultural Leaders Group. Additionally, I am a Fellow of the Royal Society of Arts and a Specialist Leader in Cultural Education with Arts Council England. I am an alumna of the Royal Opera House's National Leaders for Impact programme, which helped me to develop skills in strategic leadership, particularly in promoting arts education and developing the arts in the community.

I bring a range of additional facilitation skills to my practice. These include event and project co-design and delivery, theater production, creative writing, and fine arts. I founded and facilitate Creatives Now, a youthled arts co-creation project in my local community. I have written for various publications, including the RSA Journal and ACE Creativity Exchange. My qualifications include an MA in Gender, Literature, and Modernity.

Empowering Creative Thinking Skills in Young People through CoCreation and MultiAgency Work: An Action Research Project

Naomi Lord

This ongoing project is designed to be an extracurricular activity to promote the acquisition of creative thinking skills in young people. The co-creation ethos of Creatives Now involves collaboration with creative practitioners and experts to enable socially-applied projects based on young people's interests and led by them. The project emphasises the importance of selfreflection and critique, as well as collaboration and consultation.

Assessment methods include online consensus activities using tools such as Mural, collaborative studio-wall planning and reviews, self-report questionnaires, and authentic 'tests' via event delivery. The project promotes interdisciplinary projectbased learning engaged in the locality and underlines the importance of pupil portfolios to capture holistic learning experiences.

Key Findings Allowing young people the time and means to design and deliver purposeful tasks enables them to master processes, self-manage their own projects, and generate multiple, complex, and interlinked responses.

Lessons learned indicate that stepping out of curricular time, promoting vertical learning across age groups, and providing multi-agency work opportunities rapidly upskills young people and benefits their communities.

The project's co-creation ethos enables collaboration, conceptualisation, and self-reflection through selfmanagement and mastery of creative processes.

Multi-agency work and vertical learning across age groups were significant factors that contributed to the project's success adding authenticity and real-world application.

The project is successful in providing young people with a safe and purposeful working environment to develop their creative thinking skills. Allowing young people to establish an inclusive working environment on their own terms radically amplifies their enthusiasm and application.

Promoting Collaboration and Creative Thinking in Year 6 Science: A Capstone Project Intervention.

Fostering Creative Thinking in Year 6: A Lunchtime Group Intervention.

Helen Holt

Like many other artists coming for a workingclass background, I initially pursued my passion alongside developing a career, only returning to it later as a core part of my identity. Despite not having studied art at university, I discovered my love for art education while working at Bury Art Museum as a visitor assistant and education session leader. While teaching at a previous primary school, I served as art lead, but it wasn't until I reconnected with my own practice and began crafting and exhibiting again that art became my singular focus. In a previous senior teaching role, I worked to improve the school's art curriculum and encouraged staff to enhance their delivery of the subject. My current position as a full-time primary art teacher enables me to reflect my enthusiasm for my subject and explore creative opportunities with my students. My research emphasises the importance of developing students' independence and critical thinking to foster greater confidence in their unique creative abilities. In my view, self-direction, deep questioning, and self-reflection are critical tools in the primary art classroom, just as essential as pencils and paint.

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A C T I O N T H I N K I N G

Josef Minta Art Specialist and Artsmark Co-ordinator Park Road Junior School

Key Findings Understanding the language of collaboration and inquiry helped boys better understand competencies, their application, and how to improve.

Quality of shared talk and interaction improved, evidenced by pupil ability to organise, discuss, speculate and respond collaboratively to stimuli.

Engagement and enthusiasm were initially high, but outside factors such as exams and trips, impacted upon the learning momentum.

Self-assessment showed improvement in most cases, with some registering lower on the skills self-assessment measures due to a better understanding of the terms – which in itself can be construed as an improvement.

Methods included embedding creative thinking skills in routine lesson structures, developing a clear shared rubric for progress and using technology to automate data collection were successful.

Overall, the project helped improve students' collaborative and inquiry skills and provided valuable lessons for future implementation.

C R E A T I V E

The intervention involved selecting a group of Year 6 pupils based on a survey about their creativity. This core Creative Thinking Group met weekly to explore collaboration, inquisitiveness, and formation of design briefs. They recorded their thoughts and ideas in journals and worked together to produce planning documents. The group developed an Art and Design scheme of work for their Year 6 peers using different models of collaboration and opportunities for inquisitiveness. The pupils assessed their collaboration and inquisitiveness and recorded metacognitive reflections on their work.

R E S E A R C H

Josef Minta

The study focused on a group of five Year 6 girls with above-average academic profiles and diverse personalities. The curriculum design and pedagogy introduced collaboration tasks in science lessons, culminating in a Capstone Project using inquirybased, problem-based, and project-based approaches. The sequence of lessons included various activities to encourage collaboration and promote creative thinking. Specific collaboration objectives were developed for pupil assessment.

The study aimed to deepen subject knowledge, make connections between science and history, and develop practical learning skills.

Pupils created pre-learning mind maps to help to establish their existent field of knowledge and understanding before beginning formal lessons.

These documents were later used to inform postlearning assessments which allowed pupils and teachers to track progress and identify areas for improvement with nuance and detail.

Key Findings Pupils were encouraged to reflect on their own learning through the use of scholarly journals.

These journals helped students to become more self-aware and to identify areas where they needed to improve. Teachers used these journals to provide feedback and guidance to pupils, helping them to develop their skills and knowledge. They were a form of highlevel metacognition correspondence.

A gallery review exhibit allowed pupils to showcase and celebrate their work. They collaborated to present mastery of their learning process to invited teachers and pupils.

A live outcome of this status invigorated pride and enthusiasm in metacognitive work.

Helen Holt Deputy Head, Hesketh House Junior School With over 35 years of teaching experience, I have taught pupils from Year 1 to Year 6 after completing a B.Ed. degree at Homerton College, Cambridge. I have specialised in primary music, led the curriculum in various creative subjects, and currently serve as Deputy Head at Hesketh House, where I focus on teaching English and oracy through creative thinking strategies.

Developing a creative approach to teaching and learning has been a passion of mine, and I enjoy making crosscurricular links. My recent initiatives include developing strategies to promote oracy skills throughout Hesketh House and embedding character education into our curriculum via the Hesketh Habits.

My current research focuses on developing critical and creative thinking by promoting curiosity and inquisitiveness. Pupils have used their curiosity to journey from catalyst ideas to fully formed design responses to an eco-issue that needs resolving. They have honed their exploratory and presentational talk skills culminating in Public Service Broadcasts linking to the biodiversity of woodlands in Science.

Tracking and Assessing Creative Thinking Skills in Year 7 English through Collaborative Advertising Projects

Using Technology to Track and Assess Collaborative Skills Development: A Case Study

Sarah Brace

Frances Putt Acting Head of English Bolton School Girls' Division As an English teacher with eighteen years’ experience teaching secondary school students, I have always had an interest in developing oracy and creativity. This was enhanced through my recent Master’s degree in Shakespeare and Education from the Shakespeare Institute. During my studies, I experienced a range of teaching and learning strategies that worked beyond the traditional methods of teaching reading and writing. My dissertation, for example, focused on using oracy to develop literacy skills through the use of rehearsal room techniques. My recent projects, here at Bolton, have focused on collaboration and promoting the language of creative learning.

My current research focuses on developing inquisitive skills and creating opportunities for students to evaluate their creativity. Students have been exploring the theme of identity in texts which has provided ample opportunities to ask questions in a range of ways to explore different perspectives. Whilst providing extra challenge for students, this has also provided me with the scope to develop new forms of assessment, specific to creativity.

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Key Findings Students were quick to adapt to new ways of learning and assessment, and were keen to be creative and work with each other.

Due to time constraints, embedding the assessment grid with teaching staff was difficult, but it was effective in starting conversations with students about their work.

Students placed as great an emphasis on creative skills as they did on reading and writing, showing their appreciation of the importance of an allrounded education.

Challenges include finding time to deliver the project and embedding creativity into the curriculum. We now have a basis to develop from.

Older year groups can be more hesitant to step out of traditional teaching and assessment methods.

Moving forward, the department plans to explore implementing the project across KS3 and adapting current schemes to teach creative thinking alongside reading and writing.

A C T I O N T H I N K I N G C R E A T I V E

The research purpose was to track and assess creative thinking skills in year 7 students alongside current reading and writing assessment rubrics. The activity involved group projects on advertising where students were asked to design a product campaign working out the most effective marketing methods. Throughout the project, the teacher assessed collaborative skills through a teacher assessment grid and students were asked to self and peer assess their collaborative skills after each lesson. The project culminated in group presentations where students presented their ideas to the rest of the class, and they were assessed on their presentational and creative skills, with opportunities to comment on how they had worked collaboratively.

R E S E A R C H

Frances Putt

The purpose of this action research project was to effectively capture and monitor the progress of collaborative skills development using technology, specifically the Showbie app. The focus was on a group of Year 10 Computer Science pupils, and a survey was used to identify areas for improvement in collaborative skills.

Pupils were then asked to post comments and reflect on their collaborative experiences in and outside of class. The use of statements to suggest behavior helped pupils reflect on how they could improve, and the Showbie app was effective in monitoring and reflecting upon progress in collaborative skills development. Time constraints limited the project's comprehensive conclusion regarding success for all pupils, but the approach showed potential for tracking and assessing other creative thinking skills.

The selected group was a Year 10 Computer Science class of 14 pupils. A survey was used to identify areas for improvement in collaborative skills, and pupils reflected on their experiences with collaboration in and out of class by posting comments on the Showbie app.

Key Findings The use of statements to suggest behaviour proved helpful in enabling pupils to see how they could improve themselves specifically, rather than just aiming for a higher number..

The Showbie app was effective in monitoring and reflecting upon progress in collaborative skills development, and could be easily re-used for selfassessment and blog-keeping. Despite a limited time window, the approach showed potential for tracking and assessing other creative thinking skills, and could be used to encourage pupils to consider their own progress in different skill areas.

The results of the study showed that pupils were more reflective on their behaviour when collaborating postsurvey, and felt that they had developed their approach to problem-solving.

Sarah Brace Head of Computing Bolton School Girls' Division I have always been interested in computer programming and have taught Computer Science and ICT for over 25 years. This has been a mixture of vocational courses, key stage 3, GCSE and A level. Broadening pupil experience and understanding of what is involved in Computer Science in particular and the associated logical and computational thinking skills are essential for the future.

Enabling pupils to engage with practical programming work and to see their satisfaction when their code works is fantastic!

I have always been involved in developing teacher practice, not only my own but that of my peers and their use of technology both in and out of the class to enhance pupils learning.

I am always willing to try out new ideas and am eager to involve myself in relevant projects and creative groups.

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C R E A T I V E

T H I N K I N G

A C T I O N

R E S E A R C H

ULTIMATE JEWELRY Fostering Intellectual Curiosity: A Mid-Project Review of Facilitation, Assessment, and Moderation from KS2 to KS3 The second phase of our Creative Thinking Action Research work involves collaboration between Junior School and Senior School staff to explore ways of facilitating intellectual curiosity from Key Stage 2 to Key Stage 3, while also examining forms of assessment and moderation. We are working with Year 6 and Year 9 students, and are developing innovative approaches to support their ongoing development and growth. Through this research, we aim to deepen our understanding of how creativity and critical thinking can be nurtured in the classroom and to enhance our pedagogical practices to better meet the needs of our students as they progress from primary to secondary school.

In the year ahead, we are excited to play a part in Rethinking Assessment's development of a community of practice for the schools that have taken part in the national creative thinking programme. We look forward to being one of the leading members in sharing practice via regular webinar events.

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These are the mid-project findings from the creative thinking moderation discussions in Spring Term 2023. Some key observations include the conditions of sustained and rapid skill growth, the need for bespoke measurement methods, and the impact of project-based learning on the well-being of students.

The report also notes emerging and developing traits within learner profiles, and the support required to encourage pupil questioning to flourish. Additionally, the report highlights the characteristics of learners that are deepening their creative thinking habits.

Some Observations: Pronounced spikes in skill growth were observed during immersive trips and visits factored into the schemes of work.

The need for better measurement methods and portfolio structuring for sustained skill growth was highlighted.

Creative thinking success does not always correspond with prior academic 'success' and baseline information such as CAT scores.

Pupils with lower quartile CAT scores enjoyed the greatest acceloration in progress.

Mid-scoring pupils displayed most mastery of the metacognative and practical skills within the projects.

Pupils accustomed to performing 'top of the class' experienced some depression in success in this mode as they worked to shift their learning approaches from rote to exploratory.

Bravery, self-esteem, and well-being play integral roles in skill development.

Overconfidence can negatively impact self-assessment accuracy. The ability to self-score lower, mid-project, corresponded with pupils' metacogantive growth.

Low self-esteem can hamper self-recognition. This was anecdotally related to pupils' internalised experience of 'failing' or being 'less accademically talented'.

Some students lack imagination and struggle to generate catalysing questions. We noted the benefits of fostering skills of the imagination alongside intellectual curiosity as a means to resolve this.

Removal of close facilitation and definite success criteria led to accelerated skills development.

Students who are deepening their inquisition skills display abstract thinking, can use closed to open questions, and transfer skills across subjects.

Arts Development & CULTIMATE re a t i v e Pa r t n e r s h i p s

JEWELRY

WHAT IS ARTSMARK?

Artsmark is not solely about the arts, it also encompasses cultural and creative development and supports creative health.

The programme recognises that engagement with arts and culture can enhance people's creativity, wellbeing, and personal growth. By developing these skills, Artsmark helps young people to prepare for future challenges, nurturing their imaginations and promoting problem-solving abilities.

To be awarded Artsmark Platinum, schools must meet a set of criteria that focus on developing a high-quality arts curriculum, engaging pupils and staff in the arts, building partnerships with the wider community, and evaluating the impact of arts education. Additionally, Artsmark schools must adhere to the quality principles of striving for excellence and innovation, being authentic, being exciting, inspiring and engaging, ensuring a positive and inclusive experience, actively involving children and young people, enabling personal progression and developing belonging and ownership.

Bolton School (Boys' Division) is a prime example of a school that has excelled in meeting these criteria and quality principles.

The school was awarded the prestigious Artsmark Platinum standard in both 2018 and 2021. This recognition means that Bolton School has demonstrated a sustained and substantial commitment to the arts, and it recognises the significant impact that arts education has had on pupils' development and achievements.

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A R T S M A R K

Artsmark is a nationally recognised programme that aims to support and celebrate schools that are committed to providing high-quality arts and cultural education. It is an excellent opportunity for schools to showcase their commitment to the arts and to demonstrate the positive impact that arts education can have on pupils' development.

D E V E L O P M E N T

Artsmark is a kitemark issued by Arts Council England. Participating in Artsmark development can bring tremendous value to schools and educational institutions.

ARTSMARK: A PLATINUM PROFILE

OVERCOMING THE CHALLENGES OF PANDEMIC ARTS DELIVERY

Bolton School (Boys' Division): An Artsmark Platinum Setting During Pandemic

A R T S M A R K

D E V E L O P M E N T

IDENTIFYING GAPS IN PROVISION - SUMMARY ACTIONS FROM OUR 2021 PRE TO POSTPANDEMIC STATEMENT OF IMPACT The school audited its provision within arts delivery, enrichment, pastoral care, literacy, character, and diversity strands to ensure a high-quality pupil experience. After identifying gaps, we published a cultural learning plan that included a range of activities aimed at promoting cultural representation and challenge. Our curriculum now includes the Musical Futures programme and signature projects in Art and Design that incorporate literacy and character development.

During fortnightly 'SPACE' enrichment afternoons, we use Lucas and Spencer's creative habits to plan and deliver creative learning units that supplement pastoral, literacy, and diversity strands. Our SPACE afternoons include a variety of activities throughout the year, such as Year 7 Arts Award, Year 8 Bolton Film Festival participation, and museum and gallery curation.

We introduced participation in the RSA Pupil Design Awards to encourage pupils to design responses to social issues. Year 12 pupils were shortlisted as finalists for their plans to challenge systemic racism and create a more inclusive story of our past. We worked with a National Lottery Heritage Fund trustee, curator and a specialist in anti-racist education in the development of this project.

We also developed a creative magazine, Creatives Now, as a platform to discuss current cultural themes, topical arts issues, and school development. The magazine featured articles written by staff, alumni, and pupils.

During the pandemic, the school faced several challenges in delivering Arts Award Bronze to all Year 7 students and adopted various forms of remote delivery. Advisors upskilled rapidly, and assemblies and development sessions were run via Zoom and Showbie. Parents supported skills share activities at home, participating as learners to their sons' creative teaching role.

The school maintained its performing arts and cultural events calendar by translating senior productions into socially distanced theatre for film and recording socially distant musical ensembles for a Christmas festival.

The school also worked with creative practitioners to commission live Zoom and video content for the whole school and community enrichment offers. This included a community creative writing programme with Professor Andrew McMillan from The Manchester Writing School and a pilot co-creative community arts programme in association with Manchester International Festival. This has now become Creatives Now - an ongoing studio and online collective for young people in Bolton aged 12-18. The magazine of the same name has shifted to a product of this group.

Despite some delays to teaching for creativity CPD advances, the school continued to work in this direction within creative arts subjects in terms of auditing and planning for the return to the classroom.

PUPIL EXPERIENCE The school's Arts Award Bronze programme engaged 316 pupils between 2019-2021. 61 arts and culture clubs take place each week. The school's ambitious trips programme supported arts venues as they reopened after pandemic shutdown. Pupils visited museums and local mills to explore history and culture, carried out photography work, and fed these experiences into curriculum focuses.

Pupils enjoyed industry insights from artists, poets, filmmakers, curators, architects, theatre producers, and digital strategists.

Pupil voice and co-creation strategies were key drivers of the school's arts development. The school participated in an offline day of Mass Observation directives during lockdown, providing rich data about the school community's cultural priorities and interests.

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STRATEGIC VALUES & DEVELOPMENT

ULTIMATE JEWELRY

The school's co-creation project with Manchester International Festival used multiple information capture methods to tailor the forward sessions to the young people's needs and interests, taking up workshops on photography, fashion design, film-making, curation and event planning.

A R T S M A R K

D E V E L O P M E N T

The school's Concert Band received a platinum award at the National Concert Band Festival in 2019 and the school was a finalist in the Performing Arts category of the Independent School Parents' School of the Year Awards in 2021 for its work to maintain performing arts delivery over the course of the pandemic.

IMPACT ON STAFF, SCHOOL LEADERSHIP & COMMUNITY School's Creative Learning lead received training from the Arts Council and Manchester International Festival, as well as participating in national arts leadership programmes with the Royal Opera House and the Local Cultural Education Partnership network. This had a direct impact on cultural provision for young people in Bolton, including the strategic redevelopment of Bolton's CEP and Bolton School steerage of their strategic and delivery groups.

The Head of Music/Arts Award Co-ordinator and Head of Art participated in Curious Minds' Leading the Arts in Your School training.

The school developed the basis of its own "Flourish" model to begin exploration of teaching creativity and character, establishing links with Bill Lucas and the Centre for Real World Learning to progress this work.

Pupils who worked on RSA design projects shared their work via Radio 4 (Descendants, RSA Roots to Empowerment Brief) and ITV’s Tonight programme on matters of women’s safety.

Additionally, the school's work was represented in national CPD programmes such as Tybed and Evolve Arts. Pupils contributed to this CPD delivery, demonstrating the impact of their projects on their ability to advocate for the arts and their transformational effect on confidence.

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School Development Plan: The school development plan aims to advance partnership and outreach and to continue to develop creativity in all aspects of school life.

The school has a Platinum Artsmark Award and plans to produce a longer-term development plan linking creativity to all of its development aspirations.

Connection of creativity and culture to pastoral care, skills for learning, literacy, character, engagement with parents, strategic development of ECA, position on social media, and pupil voice.

Curriculum Design, Careers, Skills + Talented programme: Embed arts careers signposting in arts curriculum and extend arts qualification offers to include Trinity acting qualifications and competition programmes.

Use Arts Award to create a narrative for the progression of talented pupils and connect curriculum design to artistcommissioned enrichment and partnership work.

Develop a weekend community theatre offer in partnership with the local theatre for public showcase and group qualifications.

Character and Creative Habits, ‘Flourish’: Use creativity to support character development and wellbeing, demystify skills, and reframe 'soft skills' as central.

Eventually, use academic coaching that includes creative and cultural participation data to support inclusion and social mobility.

Undertake phased CPD to support the delivery of this.

Diversity and Inclusion Practice: The school has used Artsmark development to amplify the impact of SMSC and diversity and inclusion practice. Further exploration of pedagogical approaches to embedding cultural learning across the curriculum should occur in the next phase.

The school has produced enrichment work in the areas of race, gender, and well-being. There is intent to champion the work of neuro and physically diverse artists and cultural figures in the next phase.

The school aims to deepen pupil empathy via experiential range and reflection.

Partnerships and Outreach: The school plans to extend curriculum activity to lead pupils into sector experience and integrated community opportunities.

The school plans to continue to develop outreach programmes that sensitively seed cultural capital and support social mobility.

L o c a l Cu l t u r a l Education Pa r t n e r s h i p s & ULTIMATE Pa r t i c i p a t i o n

We are also connected in partnership work with The Manchester Writing School, the Anderton Centre with whom we are trialling creative outdoor learning activities and the University of York's Music Department (SFX and original music for theatre). We appreciate a guiding association with Manchester International Festival and Collective Encounters (Liverpool).

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We have recently joined the town's new Youth Participation Forum as Creatives Now. This group connects all providers of community youth well-being and participatory support.

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We enjoy longstanding partnerships with the Octagon Theatre providing community theatre opportunities for 10 - 14-year-olds who live and/or go to school in Bolton, and Bolton at Home (Percent for Arts) with whom we run a co-creative arts collective for young people aged 12 - 18 who live and/or go to school in Bolton. We are currently planning a youth micro-film and youth programming strand for Bolton's BAFTA and BIFA-accredited Film Festival which the school with sponsor.

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Bolton School is a steering and delivery member of Bolton's Local Cultural Education Partnership and a member of Bolton's Cultural Leaders Group. Membership of these groups includes Bolton Museum and Library Service, the Octagon Theatre, Bolton at Home, Bolton Film Festival, Bolton University, the Council's events team and film office, school representatives for Bolton Learning Partnership, Bolton CVS, Bolton Music Service and a range of small arts organisations and freelance artists.

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Local cultural education partnerships are collaborative projects between schools, arts, and cultural organisations in local communities, aiming to provide all children and young people with greater access to high-quality arts and cultural education.

These partnerships are funded by Arts Council England and operate alongside existing educational institutions, where professionals work together to deliver projects and activities that raise the standards of cultural education in local areas. Through these initiatives, local cultural education partnerships aim to ensure that every child has access to a high-quality cultural education that fosters creativity, critical thinking, and social and emotional growth.

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Creativity, Participation & Togetherness - Schools and their Local Communities Part 1

Naomi Lord

An introduction to key thinking on issues within the mainstream discourse around creativity and cultural participation, forms of social cohesion and practical steps to guide positive cultural change in formal and informal educational settings. Creating the case for deep learning through creative partnerships and community outreach practices.

ASSESSING THE LIE OF THE LAND. SOCIAL MOBILITY & BUILDING INCLUSIVE CULTURES. Recalibration of school-based and community practices to deliberately foster participation equity for children and young people is essential to the growth of their cultural capital and agency. By creating opportunities for children and young people to engage in civic activities and pragmatic topical learning, they can develop valuable skills that can be applied to their communities and organisations. This can help to create a more connected and engaged society, where children and young people are actively involved in shaping their communities.

This form of work involves a comprehensive approach to co-creative change. It requires a reset of values and concepts that underpin current practices, deliberate attitudes that prioritise collaboration and inclusiveness, making organisational changes that enable effective communication and collaboration, and developing requisite skills and competencies that facilitate co-creation. All of these efforts together can create an environment where rich inclusive cultural activity can thrive, and meaningful change can occur.

Against Creativity (Mould, O. 2018) and Culture is Bad for You (O'Brien, Brook, and Taylor. 2019) both critique the mainstream discourse around creativity and cultural participation. They argue that these concepts are often framed in individualistic terms, which can lead to social exclusion and a narrow understanding of what counts as valuable cultural and creative practices.

Mould argues that the emphasis on creativity in neoliberal societies has led to a culture of self-promotion and competition, which can be detrimental to collective well-being and social cohesion. He suggests that instead of focusing on individual creativity, we should strive for co-creation and collaboration, which can foster more inclusive and sustainable forms of social innovation.

Brook et al. similarly critique the narrow definition of ‘culture’ in mainstream discourse and argue that cultural participation can be exclusionary and reinforce social inequalities. They suggest that we need to move beyond the idea of culture as a commodity or an individual pursuit, and instead embrace more collective forms of cultural engagement that are accessible and inclusive to all.

The mainstream discourse around creativity and cultural participation often focuses on individualistic and market-driven perspectives. Creativity is often seen as a commodity to be exploited for economic gain, while cultural participation is viewed as a leisure activity for individuals to consume. This narrow approach can lead to social exclusion and reinforce social inequalities, as it fails to recognise the collective and inclusive nature of cultural practices.

BEYOND LIMITING TRENDS: PRACTICAL STEPS FOR POSITIVE CHANGE 1. Decolonising creativity and cultural participation: This discourse focuses on centring the perspectives and experiences of marginalised communities and challenging the dominant narratives that have historically silenced their voices. It involves acknowledging the ways in which colonialism and imperialism have influenced cultural production and consumption, and working towards a more equitable and inclusive cultural landscape.

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Some practical approaches Incorporating diverse voices and perspectives in the curriculum to challenge the dominance of Eurocentric knowledge and narratives.

Including non-Western artistic practices and aesthetics in the teaching of art and design to broaden students' understanding of creativity.

Creating a safe and inclusive learning environment that acknowledges and values cultural diversity, where students can express their cultural identities without fear of discrimination.

Encouraging students to critically reflect on the impact of colonialism on cultural production and consumption, and how it continues to shape our society.

Providing opportunities for students to engage with local communities and learn from indigenous or marginalised cultural practitioners, rather than only focusing on canonised cultural figures or institutions.

Supporting the development of students' own cultural identities and creative expressions, rather than imposing a singular notion of creativity or cultural value.

Collaborating with community organisations and cultural institutions to promote more diverse and accessible cultural experiences for students, and to challenge the power dynamics that perpetuate colonial legacies in the arts.

2. Community-based creativity and cultural participation: This discourse emphasises the importance of community-led cultural production and participation, rather than relying on individualistic or market-driven approaches. It involves valuing the knowledge and skills of local communities and creating spaces for them to express themselves creatively.

Some practical approaches: Facilitating community-led cultural events and festivals.

Encouraging collaboration and partnerships between community groups, artists, and cultural institutions.

Supporting artist residencies and workshops in local communities.

Providing access to creative spaces and equipment for community use.

Promoting cultural diversity and inclusivity in all community-based cultural activities.

Providing training and education for community members to develop their creative skills and knowledge.

Encouraging the documentation and preservation of local cultural traditions and history .

Fostering intergenerational exchange of cultural knowledge and skills.

Conducting research and evaluation to measure the impact and effectiveness of community-based cultural initiatives.

3. Critical creativity and cultural participation: This discourse encourages critical reflection on the ways in which creativity and cultural participation intersect with power and privilege. It involves questioning the dominant narratives around creativity and culture, and identifying the ways in which they can reinforce inequalities and exclusions.

Some practical approaches: Encourage students to question the dominant narratives around creativity and culture, and to critically examine the ways in which they can reinforce inequalities and exclusions.

Incorporate diverse cultural perspectives and voices into the curriculum and classroom discussions to broaden students' perspectives and challenge their assumptions.

Provide opportunities for students to engage in creative expression that reflects their own cultural backgrounds and experiences.

Facilitate discussions around power and privilege in creative industries and cultural institutions, and the impact they have on who is represented and valued.

Use media literacy skills to analyse how media and advertising perpetuate dominant cultural narratives and shape our perceptions of creativity and culture.

Encourage students to engage in community-based cultural activities and events, and to critically reflect on their role in promoting cultural understanding and social justice.

4. Participatory creativity and cultural participation: This discourse focuses on creating opportunities for active participation and cocreation in cultural production, rather than passive consumption.

It involves valuing the agency and creativity of audiences and users, and creating spaces for them to engage with cultural content in meaningful ways.

Some practical approaches: Co-creation: Invite people to participate in the creative process, foster participants’ sense of ownership and investment in cultural production, while also promoting diversity and inclusivity. To make co-creation more effective, it's important to create a supportive environment where everyone feels comfortable sharing their ideas and perspectives.

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This can involve providing training and resources to help people develop their creative skills, as well as setting clear expectations and guidelines for participation. In addition, co-creation can be enhanced by building strong partnerships between artists, cultural institutions, and community organisations, and by fostering ongoing dialogue and feedback between all stakeholders.

User-generated content: Encourage the creation of user-generated content, such as online forums, blogs, and social media platforms. This can help to create a more diverse and inclusive cultural landscape, where people can share their own stories and perspectives.

Interactive experiences: Design interactive experiences that encourage active engagement with cultural content. This can involve interactive installations, immersive performances, or participatory exhibitions where audiences can interact with the artwork.

Open access: Make cultural content more accessible and available to a wider audience, by providing open access to digital resources and creating more inclusive spaces where everyone can participate.

Empowerment: Empower audiences and users to take ownership of cultural production and engage with cultural content on their own terms. This can involve providing tools and resources to help people create and share their own cultural content.

Overall, these alternative discourses highlight the importance of challenging dominant narratives and power structures, valuing diverse perspectives and experiences, and creating more equitable and inclusive cultural landscapes.

CREATING A CLIMATE FOR CHANGE – HOW MIGHT WE FOSTER ATTITUDES THAT CATALYSE AND MAINTAIN INCLUSIVE CULTURES OF LEARNING? While practical steps for cultural change may seem simple on the page, in reality their implementation is often tricky. The reality is that organisational structures and attitudes are often not equipped to take them up. This can be due to a range of factors, including resistance from senior leadership, lack of resources or expertise, or entrenched cultural norms. To change this, organisations need to prioritise a culture of continuous improvement and embrace a growth mindset that values experimentation and learning from failure.

A shared vision on paper needs to become an active roadmap for positive change that empowers participants at all levels to contribute to development; children and young people should be empowered to contribute co-creatively to organisational change.

This requires investment in the necessary resources, including training and development programmes, to ensure that participants have the skills and knowledge they need to implement positive changes. Leaders need to model the behaviours they want to see in their organisations and create a supportive environment that encourages risk-taking and innovation. By taking these steps, organisations can overcome the barriers to positive change and create a culture of continuous improvement that drives success and growth.

Together by Richard Sennett explores the idea of collaboration and its potential to foster more inclusive and democratic societies. He argues that collaboration requires a willingness to listen to and learn from others, and that it can help overcome social divisions and create more equitable outcomes. Sennett suggests that collaboration can be fostered through various practices, such as storytelling, improvisation, and dialogue, and that it can lead to more innovative and sustainable solutions to social problems.

What might collective cultural development for the access and inclusion of young people look like, taking up the arguments of Together?

Creating opportunities for young people to come together: Cultural development initiatives could create spaces and events where young people from diverse backgrounds can come together and engage in shared cultural experiences. This could involve festivals, workshops, and other cultural activities that encourage social interaction and collaboration.

Fostering intergenerational connections: Cultural development initiatives could also focus on creating opportunities for young people to engage with older generations. This could involve intergenerational workshops, mentorship programs, and other activities that encourage dialogue and understanding across different age groups. This could be in the co-design of initiatives as well as participation in them.

Emphasising the importance of collective action: Sennett argues that a sense of belonging and social cohesion is built through collective action towards shared goals. Cultural development initiatives could encourage young people to work together on cultural projects that benefit their school and local communities, such as public art installations or community festivals.

Valuing diversity and difference: Sennett argues that social cohesion is not built by erasing differences, but by acknowledging and valuing them. Cultural development initiatives could prioritise the participation of young people from diverse backgrounds and encourage them to share their cultural perspectives and experiences. Support of community groups and youth-sector organisations are crucial in this regard.

By creating welcoming spaces and opportunities for young people to engage in their shared cultural experiences, these initiatives could help build social cohesion and a sense of belonging among young people from diverse backgrounds.

Martin Ainscough

Ladybridge is a comprehensive school in Bolton serving a diverse community of fantastic young people. At Ladybridge we strongly believe in education in it’s widest sense. We want our learners to experience success, develop the knowledge, wisdom and qualities to thrive in life, develop agency and become good citizens. Our vision is articulated in ‘The Ladybridge Way’.

If we move past individualistic approaches to creativity and cultural participation, and advocate for and action collective and inclusive forms of engagement we can reach a more positive vision of collaboration powered by schools and harness this potential to create more democratic and equitable societies.

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Bolton Rewind and Regenerate? A Projectbased approach to learning at Ladybridge High School

REFERENCES Brook, D., O'Brien, D., & Taylor, M. (2019). Culture is Bad for You. Manchester University Press.

Craft, A. (2001a). Little ‘c’ Creativity. In A. Craft, B. Jeffrey, & M. Leibling (Eds.).

Lucas, B. and Spencer, E. (2017). Teaching Creative Thinking: Developing learners who generate ideas and can think critically. Carmarthen: Crown House Publishing.

Lucas, B. (2022). A field guide to assessing creativity in schools. Perth: FORM. Mould, O. (2018). Against Creativity. Verso.

Robinson, K. (2001). Out of Our Minds: Learning to be Creative. Capstone Publishing Ltd. Robinson, Ken & Robinson, Kate ((2022). Imagine If... London: Penguin.

Sennett, R. (2012). Together: The Rituals, Pleasures and Politics of Cooperation. Yale University Press.

Syed, M. (2019). Rebel Ideas: The Power of Diverse Thinking. London, UK: John Murray Press.

A key aspect of our approach is ensuring that our learners have access to real-world, authentic learning experiences which allow them to interact and have a positive impact upon the wider community. In developing this approach, we have visited other schools, worked with experts and senior members of staff have experienced their very own projects as learners.

Our first journey with our learners is led by our Geography and History departments and focused on Bolton. It would be fair to say that the town, like many post-industrial northern towns, has its fair share of issues. Our team wanted to allow learners the freedom to explore these issues, look at some of the positive developments in the community, and look back to the past for ideas and inspiration to provide the knowledge and experiences for them to voice their opinion about the future of Bolton.

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Some of our learners will go on to produce a campaign to engage with local people, collecting artefacts and stories to curate and share. Rewind and regenerate is the project's guiding question. They will exhibit this work in Crompton Place Shopping Centre in May, in collaboration with Creatives Now. We hope their work will engage parents, leaders and the people of Bolton in a conversation about the future of Bolton.

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The project began with an immersion day in March for over 200 Year 8 learners who visited multiple locations around Bolton. We worked with partners including Aldi, Victoria Halls, Smithills Estate, Bolton Library and Museum and Creatives Now to engage learners in the history of the town, the problems it faces and what a future Bolton may look like.

Lead-learner Profile Martin Ainscough is an Assistant Head Teacher at Ladybridge Highschool, Bolton.

He is an experienced Head of Learning skilled in curriculum development, teacher training, vocational education, and arts/cultural education. Martin carries a Master's Degree in Educational Leadership & Management from The Manchester Metropolitan University. He is the Director of Musical Futures, a not-for-profit organisation for teachers, led by teachers, providing training, resources and an international community of practice. Musical Future's approach is based on the real-world practices of popular and community musicians, making it relevant and engaging for young people.

Imagine If...

Children and young people from Bolton imagine the world they would like to live in.

The book Imagine If... by Kate and Sir Ken Robinson envisions a world where creativity is valued and nurtured in education, society, and the workplace. It argues that creativity is essential for addressing the complex challenges we face, and that current education systems are failing to foster creativity in students. The book introduces key concepts such as "creative intelligence" and the "element," and provides practical strategies for fostering creativity. It advocates for changes in education policy and calls for a shift towards personalised, inquiry-based learning that engages students' passions and interests.

The authors also explore the role of creativity in society and the workplace, and offer solutions for promoting creativity in these contexts. Overall, the book argues that a focus on creativity is essential for creating a better future for individuals and the world as a whole.

In 2022, Creatives Now posed a challenge to primary and secondary pupils in Bolton: Imagine the future town and world at large that you would like to live in. Describe this for us by completing the sentence 'Imagine if...' and send your thoughts to us on a postcard that illustrates your vision.

We were inundated by post! Children and young people across the borough sent the most beautiful illustrations and reflections envisioning the world they would like to live in. The following is a presentation of those themes information to consider as starting place to meet children well educatively and to support them to enact the change they wish to see.

Thornleigh Salesian High School, St Brendan's RC Primary School, Chorley New Road Primary School, Hesketh House Junior School, Park Road Junior School and Bolton School Girls' and Boys' Divisions participated in the project.

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363 children presented an 'Imagine if...' vision of the future. The children presented many calls to action.

The prevalence of poverty-related ideas suggests that children are aware of and concerned about inequalities in society. This highlights children wish to be enabled to tackle poverty through action and charitable giving. They are keen to improve access to education and basic necessities like clean water in their own community and others, and ensure that wealth is distributed more fairly.

Environment: 37% Poverty: 12% Technological advance: 14% Kindness, equality, positivity, an end to disputes and conflicts: 27% Public services and local amenities: 4% Fantastical ideas and enquiry thinking: 5% Environment: 135 children focused on the environment including thoughts on climate change, fossil fuels and renewable energy, deforestation, tree-planting programmes, animal welfare and extinction threats, fast fashion, littering and pride in our local environment.

These ideas indicate that children are concerned about the state of our planet, including the impact of human activity, and are interested in finding ways to preserve it for future generations. This highlights the need for education and to take action on climate change and environmental preservation, as well as the importance of introducing sustainable practices into everyday life.

Technological advance: 51 children presented ideas related to technological advance including medical advancements linked to curing terminal illnesses and easing suffering, mechanisms to improve access and lifestyle for people with physical disabilities, improvement of the safety of social media, cyborg connection with technology to directly link thought process to e.g. printing images and intuiting friendship, mechanisation of environmental renewal, mechanisation of the police force, time travel, blended living with different environments e.g. in space or aquatic life, global transport networks, teachers replaced by technology, rapid language acquistion via technology and their home town becoming a beacon of technological development.

These ideas demonstrate children's fascination with and curiosity about technology. It is important to continue to foster an interest in science, engineering, and technology in children, while also being mindful of the ethical implications of technological advancements, such as the impact on employment or the potential for misuse. It is crucial to signpost the range of careers in emergent technologies to children and young people.

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Themes identified and the percentage of children interested in each theme:

Poverty: 44 children presented ideas related to poverty including thoughts on homelessness, food banks, food waste, access to clean water, access to education and division of wealth.

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Kindness, equality, positivity, an end to disputes and conflicts: 97 children presented ideas related to kindness, equality, positivity, ending disputes and conflicts and replacing judgement with acceptance, diversity and inclusion.

Children specifically mentioned irradication or racism, gender equality, LGBTQ+ equity and better representation of neurodivergent experience including foregrounding of autism in women and girls. They were also interested in inequalities and corruption in leadership as well as matters of law linking crime to the inequalities people experience. Some children also presented ideas on being free to learn according to their interests and hope to be understood as clever at school suggesting some modes of learning that were not good fits for them. One child imagined a world where everyone was able to weigh up the consequences of their actions before they acted.

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These ideas indicate that children recognise the importance of treating others with respect and want to create a more inclusive and accepting society. It highlights the need for continued efforts to address issues of discrimination, inequality, and conflict, as well as the importance of teaching empathy, compassion, and active listening skills.

Public services and local amenities: 16 children presented thoughts about public services and local amenities, they were concerned that the NHS would disappear, hoped for free transport, imagined everyone being part of a cycle programme rather than using cars, wanted more places for young people to hang out in the town centre, more events for young people, access to fun, access to bigger museums, 'wonderland libraries', music festivals and theme parks.

These ideas suggest that children are interested in creating and maintaining spaces for leisure and recreation, as well as ensuring access to public services like healthcare and transportation. It highlights the need for communities to invest in public services, amenities designed by young people for young people, and cultural events that bring people together.

Fantastical ideas and enquiry questions: 20 children presented fantastical ideas and enquiry questions with two presenting things they would like for themselves - sweets, a horse. Flights of the imagination and enquiry included: imortality, wondering what would happen if the earth stopped spinning on its axis, what it would be like if the world we experience was upside down, if humans could fly, Iron Man was real, all wishes came true, the experience of living on Mars, rainbows functioning as slides, if our eyes could function as powerfully as telscopes and microscopes, if we could hear everybody's thoughts, what would happen if everyone on earth jumped at the same time, if we could experience all of history in the present, the experience of a flat earth, having a giant pet squirrel, ability to talk to animals and the ability to materialise whatever we need in front of us.

These ideas showcase children's imaginations and desire to explore the unknown. It highlights the importance of creating safe spaces for creativity and curiosity, as well as the need to integrate imagination and exploration into academic and extracurricular activities.

Overall, the ideas presented by children demonstrate a desire for a better world, one that is more sustainable, fairer, and more accepting. It highlights the importance of empowering children to be change-makers and actively engage in shaping their futures.

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