Design VenturaMarch18, 2013“The value ofentrepreneurial, culturaland creative learning”Paul Robertswww.cceengland.co.uk
We know what we need"There are powerful reasons to believe that what worked  spectacularly between 1960 and 2010 will not ...
Is this what we’ve got (1) ?(1) The Test-Score/Interest Paradox
Is this what we’ve got (2)?
Building the CreativeGeneration (1)1. Inquisitive   Wondering and Questioning                 Exploring and Investigating ...
Building the CreativeGeneration (2)4. Disciplined     Crafting and Improving                   Developing techniques      ...
What type of school does it need (1)                                 High System              Schools with                ...
What type of school does it need (2)Guided          Role of the teacher         ChallengingContrived       Nature of activ...
Why does Cultural Education matter –and the argument for Design………?The Intrinsic: Culture enriches livesThe Extrinsic: Cul...
Why does Cultural Education matter –and the argument for Design……..?The Extrinsic: Culture changes live (2)• Personalised ...
What are the characteristics of acultural offer? (1)• Learning in and about culture  - critical spectators, participants a...
What are the characteristics of a culturaloffer? (2)• Breadth  We want children to experience all cultural  forms not what...
Professionalising art-talent         Semi-professional                      Route for the practice of artwidth            ...
Ipsos Mori research on youngpeople’s engagement in thearts                        The main predictors of young            ...
Many primary-aged childrenspend no time on culturalactivities  70% of children of parents with no  educational qualificati...
The Design VenturaChallenge (1)  -   Establish the moral and educational      imperative  -   Don’t polarise the debate - ...
Invest in Research      ProvidedBetween            Sweat the evidence (1) training for2008                                ...
Invest in researchSweat the evidence (2)• academic achievement• confidence, communication, motivation, expectations• creat...
Family FacesWhere did your ideas come from?From my dreamsHow pleased are you with yoursculpture?Very pleased. Next time I ...
The Design VenturaChallenge (2)  -   Establish the moral and educational      imperative  -   Don’t polarise the debate - ...
Paul RobertsChair of the TrusteesCreativity, Culture andEducation(CCE UK)paul.roberts@cceengland.orgwww.creativityculturee...
Presentation by Paul Roberts O.B.E
Presentation by Paul Roberts O.B.E
Presentation by Paul Roberts O.B.E
Presentation by Paul Roberts O.B.E
Presentation by Paul Roberts O.B.E
Presentation by Paul Roberts O.B.E
Presentation by Paul Roberts O.B.E
Presentation by Paul Roberts O.B.E
Presentation by Paul Roberts O.B.E
Presentation by Paul Roberts O.B.E
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Presentation by Paul Roberts O.B.E

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Presentation looking at the economic and social value of entrepreneurial and cultural learning.

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  • Finland and Mexico Countries which have low interest levels and low scores (USA, Nordic), and countries which have High scores and high interest levels (Japan, Germany) This finding is not new, and emerges in fact with many self-reproted measures that have affective components. Partly because these are self-reported measures, this has led to interpret sometimes these negative correlations as misleading artifacts related to the response behaviour of students. Few people actually have tried to interpret this differently, with the consequence that international comparisons of school success never take into account these components. However, there is no reason to expect that the true correlation, if we were able to measure authentic interest without using self-reports, is positive, just because curiosity and test achievement are both desirable outcomes.
  • Presentation by Paul Roberts O.B.E

    1. 1. Design VenturaMarch18, 2013“The value ofentrepreneurial, culturaland creative learning”Paul Robertswww.cceengland.co.uk
    2. 2. We know what we need"There are powerful reasons to believe that what worked spectacularly between 1960 and 2010 will not work between 2010 and 2060.“ "It will depend on individuals who are open to ideas and arguments and who are part of teams in which vigorous debate, dissent and discomfort exist. It will require a culture of openness - to argument and to ideas, experts and outsiders, the young and the new." Oceans of Innovation: The Atlantic, the Pacific, global leadership and the future of education (Barber, Donnelly and Rozvi 2012)
    3. 3. Is this what we’ve got (1) ?(1) The Test-Score/Interest Paradox
    4. 4. Is this what we’ve got (2)?
    5. 5. Building the CreativeGeneration (1)1. Inquisitive Wondering and Questioning Exploring and Investigating Challenging assumptions2. Persistent Managing uncertainty Sticking with difficulty Daring to be different3. Imaginative Playing with possibilities Making Connections Using intuition
    6. 6. Building the CreativeGeneration (2)4. Disciplined Crafting and Improving Developing techniques Reflecting critically5. Collaborative Cooperating appropriately Giving and receiving feedback Sharing the ‘product’
    7. 7. What type of school does it need (1) High System Schools with Schools with high high test scores test scores and but low pupil independent independence motivated pupils and motivationLow HighFunctioning Functioning Schools with creative Low performing activities which are schools enjoyable but do not impact pupil learning Low System
    8. 8. What type of school does it need (2)Guided Role of the teacher ChallengingContrived Nature of activities AuthenticBellbound Organisation of time FlexibleClassroom Organisation of space WorkshopIndividual Approach to tasks GroupHidden Visibility of processes HighStatic Location of activities MobileIgnored Self as learning resource CentralSome Inclusiveness AllDirected Role of learner Self managing
    9. 9. Why does Cultural Education matter –and the argument for Design………?The Intrinsic: Culture enriches livesThe Extrinsic: Culture changes lives (1)• Self-confidence and personal identity• Creativity and problem solving• Self-discipline and team work• Communication• Challenge to adult under-expectation• Combatting disaffection and underachievement
    10. 10. Why does Cultural Education matter –and the argument for Design……..?The Extrinsic: Culture changes live (2)• Personalised learning and commitment• Talent and career pathways• Culture providing livelihoods• Mass participation ( not just observation)• Community cohesion
    11. 11. What are the characteristics of acultural offer? (1)• Learning in and about culture - critical spectators, participants and creators in the cultural world around them• Learning through culture - engagement with culture to boost creativity, attainment and personal development
    12. 12. What are the characteristics of a culturaloffer? (2)• Breadth We want children to experience all cultural forms not what just happens to be on offer in their area• Reach We want this range of experience for all children not a fortunate few• Quality and sustainability We want ongoing high quality experiences not one off projects• Pathways We want all young people to be able to take their interests and passions and talents to the next level and if appropriate into their career choices
    13. 13. Professionalising art-talent Semi-professional Route for the practice of artwidth Birth of art-talent
    14. 14. Ipsos Mori research on youngpeople’s engagement in thearts The main predictors of young people’s engagement in cultural activity at primary school age are the educational qualifications of their parents. The children of parents with no educational qualifications are least likely to participate. There are 482,000 primary age children in the UK in this category.
    15. 15. Many primary-aged childrenspend no time on culturalactivities 70% of children of parents with no educational qualifications spend less than three hours per week on cultural activities. 42% spend none. 80% of children whose parents have degrees spend more than 3 hours per week on cultural activities. 27% spend more than 10 hours.
    16. 16. The Design VenturaChallenge (1) - Establish the moral and educational imperative - Don’t polarise the debate - wholeness - Pursue a creative pedagogy - Unlock demand before increasing supply - Invest in Research - Sweat the evidence - …………………….
    17. 17. Invest in Research ProvidedBetween Sweat the evidence (1) training for2008 60,000 -11 teachers Engaging 750,000 young people Working intensively with 133 3900 schools Local Authorities
    18. 18. Invest in researchSweat the evidence (2)• academic achievement• confidence, communication, motivation, expectations• creative practitioners, teacher skills, diversity• home-school communication• pupil attendance• greatest impact in places of greatest deprivation• wellbeing• the ‘how’ and the ‘why’www.creativitycultureeducation.org/research-reports
    19. 19. Family FacesWhere did your ideas come from?From my dreamsHow pleased are you with yoursculpture?Very pleased. Next time I think I’ll doeven better because I learned somuch the first time. I achievedsomething I never thought I’d beable to do.www.creative-partnerships.comwww.creatvitycultureeducation.org
    20. 20. The Design VenturaChallenge (2) - Establish the moral and educational imperative - Don’t polarise the debate - wholeness - Pursue a creative pedagogy - Unlock demand before increasing supply - Invest in Research - Sweat the evidence - Keep the torch burning !
    21. 21. Paul RobertsChair of the TrusteesCreativity, Culture andEducation(CCE UK)paul.roberts@cceengland.orgwww.creativitycultureeducation.org

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