This document provides an overview of the CENTRES (Creative Entrepreneurship in Schools) project, which aims to promote entrepreneurship education specific to the creative industries across Europe. The document discusses:
1) The CENTRES project creates a forum for sharing innovation and best practices around entrepreneurship education for the creative industries across 8 European countries.
2) It summarizes a paper that reflects on progress promoting creativity, entrepreneurship, and innovation in education since Sir Ken Robinson's 1999 report, giving the innovation report card mixed grades.
3) It outlines three potential themes for the future of creativity and entrepreneurship in schools: personalised learning, collaborative projects, and blending formal and informal learning.
This document summarizes a conference on fostering creativity and entrepreneurship in schools. It discusses progress that has been made since Sir Ken Robinson's 1999 report calling for education systems to better support creativity. While some initiatives have helped promote creative learning, education systems still largely prepare students for past economic models rather than the current creative economy. The document calls for education to better develop students' skills for a changing job market, promote social and work-related learning, and integrate creativity across subjects rather than marginalizing it. Going forward, it suggests education should become more personalized, collaborative, and connected to real-world experiences through partnerships with businesses and social enterprises.
AND Isitallaboutwhoyouknow - future directions reportpesec
This document summarizes a discussion session on developing careers for young people in the creative industries in London. Key points from the discussion included: there is a perception the arts sector is predominantly middle-class; passion and commitment are important but some young people lack exposure; unpaid internships are common but standards need improving; and higher education is often a default rather than assessing skills. Participants agreed on developing early arts exposure, relevant opportunities, entrepreneurship, transparent recruitment, and sharing best practices.
This document summarizes key messages from the second CENTRES conference on creative entrepreneurship in schools. The conference highlighted four main messages: 1) The economic imperative of how creative learning introduces the possibility of creative jobs needed for the future economy. 2) The classroom imperative of how a creative curriculum improves employment prospects and enhances innovation. 3) The need for creative entrepreneurship to be integrated across the whole curriculum, as seen in Sweden. 4) The institutional imperative for creative entrepreneurialism to be a core mission across the arts, education, and cultural sectors. The conference provided a space for participants to share practices around nurturing creative entrepreneurship in schools.
ENTRUM is a non-formal entrepreneurship education program established in 2010 in Estonia by the Entrum Foundation. It aims to promote entrepreneurial mindsets among Estonian youth through free education programs. ENTRUM provides entrepreneurship training to over 500 young people annually and has led to over 100 new business startups. It is recognized by the Estonian government and public as the leader in entrepreneurship education and has received several awards for its work.
The document summarizes a European project called CENTRES that aims to promote creative entrepreneurship education. It discusses how the final CENTRES conference brought together partners from 8 European countries to discuss outcomes, how to better champion creative entrepreneurship in schools, and next steps. The project created a European forum for sharing best practices in entrepreneurship education for the creative industries.
This document outlines a vision for improving cultural and creative opportunities for young people in London over the next three years. It aims to ensure London has the best such opportunities in the world and that young people from all backgrounds can engage with and progress in their chosen cultural interests. It discusses how bridge organizations can help facilitate networks and access between schools, arts organizations, and cultural institutions. It also outlines specific programs and projects the organization delivers to train teachers, engage young people in heritage and the arts, and help young people gain entrepreneurship skills through a social enterprise qualification program run through several London schools.
This document outlines a 5-step worksheet from the ENTRUM program to help discover creative passions and develop sustainable business ideas. The steps include: 1) identifying skills, interests and beliefs; 2) understanding human needs based on Maslow's hierarchy; 3) matching passions to needs; 4) generating product/service ideas; and 5) evaluating ideas based on criteria like fulfilling needs, profitability, and ethics. The overall goal is to incubate ideas that satisfy personal joy and human needs through a creative and sustainable business model.
1. The document discusses trends in creative entrepreneurship education in schools and provides examples of programs from different countries in Europe.
2. It argues that schools need to prepare students for changing job markets by teaching creative and entrepreneurial skills through interdisciplinary and collaborative learning.
3. Examples of programs highlighted include initiatives that partner schools with creative businesses, integrate creative entrepreneurship across the curriculum, and develop accredited creative entrepreneurship qualifications.
This document summarizes a conference on fostering creativity and entrepreneurship in schools. It discusses progress that has been made since Sir Ken Robinson's 1999 report calling for education systems to better support creativity. While some initiatives have helped promote creative learning, education systems still largely prepare students for past economic models rather than the current creative economy. The document calls for education to better develop students' skills for a changing job market, promote social and work-related learning, and integrate creativity across subjects rather than marginalizing it. Going forward, it suggests education should become more personalized, collaborative, and connected to real-world experiences through partnerships with businesses and social enterprises.
AND Isitallaboutwhoyouknow - future directions reportpesec
This document summarizes a discussion session on developing careers for young people in the creative industries in London. Key points from the discussion included: there is a perception the arts sector is predominantly middle-class; passion and commitment are important but some young people lack exposure; unpaid internships are common but standards need improving; and higher education is often a default rather than assessing skills. Participants agreed on developing early arts exposure, relevant opportunities, entrepreneurship, transparent recruitment, and sharing best practices.
This document summarizes key messages from the second CENTRES conference on creative entrepreneurship in schools. The conference highlighted four main messages: 1) The economic imperative of how creative learning introduces the possibility of creative jobs needed for the future economy. 2) The classroom imperative of how a creative curriculum improves employment prospects and enhances innovation. 3) The need for creative entrepreneurship to be integrated across the whole curriculum, as seen in Sweden. 4) The institutional imperative for creative entrepreneurialism to be a core mission across the arts, education, and cultural sectors. The conference provided a space for participants to share practices around nurturing creative entrepreneurship in schools.
ENTRUM is a non-formal entrepreneurship education program established in 2010 in Estonia by the Entrum Foundation. It aims to promote entrepreneurial mindsets among Estonian youth through free education programs. ENTRUM provides entrepreneurship training to over 500 young people annually and has led to over 100 new business startups. It is recognized by the Estonian government and public as the leader in entrepreneurship education and has received several awards for its work.
The document summarizes a European project called CENTRES that aims to promote creative entrepreneurship education. It discusses how the final CENTRES conference brought together partners from 8 European countries to discuss outcomes, how to better champion creative entrepreneurship in schools, and next steps. The project created a European forum for sharing best practices in entrepreneurship education for the creative industries.
This document outlines a vision for improving cultural and creative opportunities for young people in London over the next three years. It aims to ensure London has the best such opportunities in the world and that young people from all backgrounds can engage with and progress in their chosen cultural interests. It discusses how bridge organizations can help facilitate networks and access between schools, arts organizations, and cultural institutions. It also outlines specific programs and projects the organization delivers to train teachers, engage young people in heritage and the arts, and help young people gain entrepreneurship skills through a social enterprise qualification program run through several London schools.
This document outlines a 5-step worksheet from the ENTRUM program to help discover creative passions and develop sustainable business ideas. The steps include: 1) identifying skills, interests and beliefs; 2) understanding human needs based on Maslow's hierarchy; 3) matching passions to needs; 4) generating product/service ideas; and 5) evaluating ideas based on criteria like fulfilling needs, profitability, and ethics. The overall goal is to incubate ideas that satisfy personal joy and human needs through a creative and sustainable business model.
1. The document discusses trends in creative entrepreneurship education in schools and provides examples of programs from different countries in Europe.
2. It argues that schools need to prepare students for changing job markets by teaching creative and entrepreneurial skills through interdisciplinary and collaborative learning.
3. Examples of programs highlighted include initiatives that partner schools with creative businesses, integrate creative entrepreneurship across the curriculum, and develop accredited creative entrepreneurship qualifications.
dismantling the curriculum in higher educationRichard Hall
My presentation at the Bishop Grosseteste University, Learning and Teaching Conference, 22 June 2015. Notes here: http://www.richard-hall.org/2015/06/19/on-dismantling-the-curriculum-in-higher-education/
Magazine Skills for a Lifetime EU 2016 FebSage Lal
This document summarizes a conference focused on vocational education and training (VET) held in the Netherlands. The conference addressed three main themes: 1) excellence in VET through flexible solutions for a changing labor market, 2) lifelong learning for lifelong employability, and 3) mobility in VET within and outside of Europe. Over 200 people participated in discussions, workshops and presentations on these themes from different perspectives including education, business, government and students. The goal was to identify best practices and develop recommendations to create a future-proof VET system in Europe.
Linksup Final Conference: Graham Attwell's KeynoteLinks-up
The document discusses challenges with the current education system and need for new approaches to learning using technology and social learning. It argues that the industrial schooling model is failing and e-learning has mostly replicated this model. It advocates developing new pedagogies using connective and collaborative technologies to support lifelong, lifewide learning that is open and embedded in everyday life.
The document discusses a study by HEFCE (Higher Education Funding Council for England) on online distance learning in the UK. The study profiles 9 institutions that provide online and distance education. It aims to improve discoverability of online programs and provide advice on infrastructure. It also discusses some myths around online education being inferior and the need for cultural changes in higher education to support online learning.
For a political economy of open educationRichard Hall
My presentation at Open Education: Condition Critical, 20 November 2014. See: http://www.richard-hall.org/2014/11/19/for-a-political-economy-of-open-education/
The document provides an overview of the latest information gathered about functional skills qualifications from various websites and organizations. Key points discussed include the need to improve teaching and coordination of functional skills, make them more relevant to industries, and link them more closely to main subject content. There is also discussion around functional skills being part of GCSEs, apprenticeships, and achievement measures for national skills targets.
Leonardo Corporate Learning Award Winners 2014 DossierPeter Palme 高 彼特
The document discusses the Leonardo European Corporate Learning Award ceremony that will take place on October 13, 2014. It provides background information on the spirit and purpose of the award, including that it recognizes outstanding contributions to learning in the areas of "learning to know, learning to do, learning to live together, and learning to be" as outlined by Jacques Delors. It also lists some past award winners from 2010-2013 and provides quotes from Prof. Dr. Hasso Plattner discussing the category of "Thought Leadership" and from Caroline Jenner discussing the category of "Crossing Borders".
This document summarizes a project presentation on intergenerational learning between adults and children. The presentation covered:
- Adults play an extremely important role as educators in society but may not recognize their own role or spend quality time with children.
- Creative experiences between adults and children can generate intergenerational dialogue, decrease stress around differences, and stimulate self-expression and agency for both groups.
- The project involved training adult educators, implementing learning programs between adults and children through creative activities, and evaluating the programs's impact on key competencies like creativity and collaboration. Over 30 programs engaged 290 adults and 497 children across multiple countries and institutions.
The document summarizes the CENTRES project, an EU-funded initiative to promote creative entrepreneurship education in schools across Europe. It involved pilot programs testing new teaching methods in 8 countries. These methods included mentoring, competitions, and summer camps. The project also created an online knowledge bank of resources for teachers and entrepreneurs. It has reached over 780 teachers, 2,220 students, and 130 entrepreneurs across 264 schools so far.
This presentation focus on financial and economic education programs developed in Poland 2002-2009 and focus on various issues important from a point of view of organizer of Financial Literacy action or policy-maker.
The document discusses the future of education in Europe. It argues that education systems must adapt to structural changes in the European economy to ensure employability and prosperity. A potential-oriented education system is proposed that focuses on developing individual talents and skills like social learning, criticism, creativity, and innovation. This system would help prepare children for a world of rapid knowledge growth, globalization, and changing job markets. The education system of the future is envisioned to focus more on developing social skills, leadership abilities, and a willingness to change, in addition to academic knowledge.
This document discusses the opening of the $11.25 million ESU Innovation Center in Monroe County, Pennsylvania. The center aims to attract new businesses, support existing county industries like tourism, and help diversify the local economy. It provides resources to help startups, entrepreneurs, and local companies through research collaborations, training, and networking. The center was funded through various state and federal economic development programs and created over 100 jobs in its first years. It represents East Stroudsburg University's first commercialized faculty research and aims to make the county a hub for innovation.
Presentation at the Expert Workshop on “Supporting European SMEs with the personalisation of their online training experiences 2nd October 2018 for the initiative on
Promoting Online Training Opportunities for the Workforce in Europe” initiative prepared by PwC EU Services for the Executive Agency for Small and Medium-sized Enterprises and the Directorate General for Internal Market, Industry, Entrepreneurship and SMEs of the European Commission.
Tom will discuss the rise of the creative industry as well as the creative economy agenda in Europe and internationally. He will describe the key drivers for sector growth, while highlighting the distinctive needs of creative entrepreneurs. He will point out some best practice examples for sector policy and investment as well as identify opportunities for growth and competitiveness in Malaysia. This will include an overview of the Creative Economy Blueprint findings for KL which he has been developing with local partners, plus the new industrial strategy for the UK.
For further information, visit our website at ma2017.mymagic.my.
Facebook - Facebook.com/magic.cyberjaya
Twitter - Twitter.com/MagicCyberjaya
Instagram - Instagram.com/magic_cyberjaya/
LinkedIn - my.linkedin.com/in/magiccyberjaya
YouTube - https://www.youtube.com/channel/UCIT_ihmWh5f3MCobvEwWMaA
- The youth unemployment rate in the EU is over 20%, much higher than the average unemployment rate of 10%, and youth have been hit especially hard by the economic crisis.
- EU priorities for young people include ensuring successful transitions from education to employment through tools like vocational training and apprenticeships, improving labor markets, and mobilizing EU funding support.
- The Youth on the Move initiative aims to improve education and training systems, facilitate EU mobility for learning and work, and establish a policy framework to boost youth employment.
Leonardo Corporate Learning Award Dossier Review 2013Peter Palme 高 彼特
Prof. Dorothy A. Leonard was awarded for thought leadership for challenging tendencies and popular trends that perpetuate unhealthy habits. She encourages reexamining assumptions through intellectually valuable work that helps understand the four pillars of learning: learning to know, to do, to live together, and to be. Her inspiring books provide evidence of thought leadership and embody the Leonardo spirit of a holistic approach that touches minds and souls. She leads by example in gently reminding people and organizations that core capabilities can become rigidities, and invites them on an intellectual and practical journey of civic and personal responsibilities.
Norway has a population of around 5 million people and is a monarchy in Europe but not part of the European Union. The document presents information about three counties in Norway: Hordaland, Sør-Trøndelag, and Vestfold. Hordaland is located in western Norway and has mostly mountainous terrain, with Bergen as its largest city. Sør-Trøndelag's largest city is Trondheim, which is home to 59% of the county's population. Vestfold is the second smallest county and has cities like Larvik and Sandefjord along the scenic Oslo Fjord.
Creativity and entrepreneurship education e learningCentres-EU
Career guidance in schools aims to develop students' creativity and entrepreneurial skills. It encourages innovative teaching approaches that develop key competencies and foster creative thinking. These skills are important for students' lifelong learning and career management as the labor market demands creative and adaptable employees. Schools should provide environments where students can explore ideas freely and learn differently. Practice firms in schools give students practical work experience in simulated business environments to prepare them for future careers.
This group presentation introduces 4 girls from Oslo, Norway - Thea, Kamilla, Jananni, and Seline. Each girl provides some biographical information about themselves, including their names, birthdates, hobbies and interests. The presentation also provides background information about Norway, including its capital Oslo, population, language, and nature. It highlights 3 Norwegian provinces - Buskerud, Sogn og Fjordane, and Akershus - and shares some key facts about each one.
The document presents a "Tiny Bag-of-Delegates" representation for efficient similar image search using a small number of spatial partition trees. It proposes an adaptive forward selection scheme to construct the trees using a small set of images as "prototypes" in order to achieve search performance comparable to using more trees while requiring less storage. Evaluation on a dataset of 1 million images shows the approach achieves high accuracy while accessing significantly fewer images compared to alternative methods.
dismantling the curriculum in higher educationRichard Hall
My presentation at the Bishop Grosseteste University, Learning and Teaching Conference, 22 June 2015. Notes here: http://www.richard-hall.org/2015/06/19/on-dismantling-the-curriculum-in-higher-education/
Magazine Skills for a Lifetime EU 2016 FebSage Lal
This document summarizes a conference focused on vocational education and training (VET) held in the Netherlands. The conference addressed three main themes: 1) excellence in VET through flexible solutions for a changing labor market, 2) lifelong learning for lifelong employability, and 3) mobility in VET within and outside of Europe. Over 200 people participated in discussions, workshops and presentations on these themes from different perspectives including education, business, government and students. The goal was to identify best practices and develop recommendations to create a future-proof VET system in Europe.
Linksup Final Conference: Graham Attwell's KeynoteLinks-up
The document discusses challenges with the current education system and need for new approaches to learning using technology and social learning. It argues that the industrial schooling model is failing and e-learning has mostly replicated this model. It advocates developing new pedagogies using connective and collaborative technologies to support lifelong, lifewide learning that is open and embedded in everyday life.
The document discusses a study by HEFCE (Higher Education Funding Council for England) on online distance learning in the UK. The study profiles 9 institutions that provide online and distance education. It aims to improve discoverability of online programs and provide advice on infrastructure. It also discusses some myths around online education being inferior and the need for cultural changes in higher education to support online learning.
For a political economy of open educationRichard Hall
My presentation at Open Education: Condition Critical, 20 November 2014. See: http://www.richard-hall.org/2014/11/19/for-a-political-economy-of-open-education/
The document provides an overview of the latest information gathered about functional skills qualifications from various websites and organizations. Key points discussed include the need to improve teaching and coordination of functional skills, make them more relevant to industries, and link them more closely to main subject content. There is also discussion around functional skills being part of GCSEs, apprenticeships, and achievement measures for national skills targets.
Leonardo Corporate Learning Award Winners 2014 DossierPeter Palme 高 彼特
The document discusses the Leonardo European Corporate Learning Award ceremony that will take place on October 13, 2014. It provides background information on the spirit and purpose of the award, including that it recognizes outstanding contributions to learning in the areas of "learning to know, learning to do, learning to live together, and learning to be" as outlined by Jacques Delors. It also lists some past award winners from 2010-2013 and provides quotes from Prof. Dr. Hasso Plattner discussing the category of "Thought Leadership" and from Caroline Jenner discussing the category of "Crossing Borders".
This document summarizes a project presentation on intergenerational learning between adults and children. The presentation covered:
- Adults play an extremely important role as educators in society but may not recognize their own role or spend quality time with children.
- Creative experiences between adults and children can generate intergenerational dialogue, decrease stress around differences, and stimulate self-expression and agency for both groups.
- The project involved training adult educators, implementing learning programs between adults and children through creative activities, and evaluating the programs's impact on key competencies like creativity and collaboration. Over 30 programs engaged 290 adults and 497 children across multiple countries and institutions.
The document summarizes the CENTRES project, an EU-funded initiative to promote creative entrepreneurship education in schools across Europe. It involved pilot programs testing new teaching methods in 8 countries. These methods included mentoring, competitions, and summer camps. The project also created an online knowledge bank of resources for teachers and entrepreneurs. It has reached over 780 teachers, 2,220 students, and 130 entrepreneurs across 264 schools so far.
This presentation focus on financial and economic education programs developed in Poland 2002-2009 and focus on various issues important from a point of view of organizer of Financial Literacy action or policy-maker.
The document discusses the future of education in Europe. It argues that education systems must adapt to structural changes in the European economy to ensure employability and prosperity. A potential-oriented education system is proposed that focuses on developing individual talents and skills like social learning, criticism, creativity, and innovation. This system would help prepare children for a world of rapid knowledge growth, globalization, and changing job markets. The education system of the future is envisioned to focus more on developing social skills, leadership abilities, and a willingness to change, in addition to academic knowledge.
This document discusses the opening of the $11.25 million ESU Innovation Center in Monroe County, Pennsylvania. The center aims to attract new businesses, support existing county industries like tourism, and help diversify the local economy. It provides resources to help startups, entrepreneurs, and local companies through research collaborations, training, and networking. The center was funded through various state and federal economic development programs and created over 100 jobs in its first years. It represents East Stroudsburg University's first commercialized faculty research and aims to make the county a hub for innovation.
Presentation at the Expert Workshop on “Supporting European SMEs with the personalisation of their online training experiences 2nd October 2018 for the initiative on
Promoting Online Training Opportunities for the Workforce in Europe” initiative prepared by PwC EU Services for the Executive Agency for Small and Medium-sized Enterprises and the Directorate General for Internal Market, Industry, Entrepreneurship and SMEs of the European Commission.
Tom will discuss the rise of the creative industry as well as the creative economy agenda in Europe and internationally. He will describe the key drivers for sector growth, while highlighting the distinctive needs of creative entrepreneurs. He will point out some best practice examples for sector policy and investment as well as identify opportunities for growth and competitiveness in Malaysia. This will include an overview of the Creative Economy Blueprint findings for KL which he has been developing with local partners, plus the new industrial strategy for the UK.
For further information, visit our website at ma2017.mymagic.my.
Facebook - Facebook.com/magic.cyberjaya
Twitter - Twitter.com/MagicCyberjaya
Instagram - Instagram.com/magic_cyberjaya/
LinkedIn - my.linkedin.com/in/magiccyberjaya
YouTube - https://www.youtube.com/channel/UCIT_ihmWh5f3MCobvEwWMaA
- The youth unemployment rate in the EU is over 20%, much higher than the average unemployment rate of 10%, and youth have been hit especially hard by the economic crisis.
- EU priorities for young people include ensuring successful transitions from education to employment through tools like vocational training and apprenticeships, improving labor markets, and mobilizing EU funding support.
- The Youth on the Move initiative aims to improve education and training systems, facilitate EU mobility for learning and work, and establish a policy framework to boost youth employment.
Leonardo Corporate Learning Award Dossier Review 2013Peter Palme 高 彼特
Prof. Dorothy A. Leonard was awarded for thought leadership for challenging tendencies and popular trends that perpetuate unhealthy habits. She encourages reexamining assumptions through intellectually valuable work that helps understand the four pillars of learning: learning to know, to do, to live together, and to be. Her inspiring books provide evidence of thought leadership and embody the Leonardo spirit of a holistic approach that touches minds and souls. She leads by example in gently reminding people and organizations that core capabilities can become rigidities, and invites them on an intellectual and practical journey of civic and personal responsibilities.
Norway has a population of around 5 million people and is a monarchy in Europe but not part of the European Union. The document presents information about three counties in Norway: Hordaland, Sør-Trøndelag, and Vestfold. Hordaland is located in western Norway and has mostly mountainous terrain, with Bergen as its largest city. Sør-Trøndelag's largest city is Trondheim, which is home to 59% of the county's population. Vestfold is the second smallest county and has cities like Larvik and Sandefjord along the scenic Oslo Fjord.
Creativity and entrepreneurship education e learningCentres-EU
Career guidance in schools aims to develop students' creativity and entrepreneurial skills. It encourages innovative teaching approaches that develop key competencies and foster creative thinking. These skills are important for students' lifelong learning and career management as the labor market demands creative and adaptable employees. Schools should provide environments where students can explore ideas freely and learn differently. Practice firms in schools give students practical work experience in simulated business environments to prepare them for future careers.
This group presentation introduces 4 girls from Oslo, Norway - Thea, Kamilla, Jananni, and Seline. Each girl provides some biographical information about themselves, including their names, birthdates, hobbies and interests. The presentation also provides background information about Norway, including its capital Oslo, population, language, and nature. It highlights 3 Norwegian provinces - Buskerud, Sogn og Fjordane, and Akershus - and shares some key facts about each one.
The document presents a "Tiny Bag-of-Delegates" representation for efficient similar image search using a small number of spatial partition trees. It proposes an adaptive forward selection scheme to construct the trees using a small set of images as "prototypes" in order to achieve search performance comparable to using more trees while requiring less storage. Evaluation on a dataset of 1 million images shows the approach achieves high accuracy while accessing significantly fewer images compared to alternative methods.
The document provides information about Norway, including that the capital is Oslo, Norwegian is spoken, and May 17th is Norway's National Day. It describes a terrorist attack on July 22nd in Norway that killed 77 people. It gives details about the counties of Nordland and Vest-Agder. The document also introduces two 13-year-old girls - Rita from Palestine and Julie from Norway, including their birthdays, hobbies and activities.
The two-day event in Ljubljana, Slovenia was organized as part of the CENTRES project funded by the European Commission to encourage entrepreneurship in education. Over 70 participants including teachers, government representatives, and entrepreneurs attended workshops led by consultants from the Real Ideas Organization to learn methods for teaching creativity and entrepreneurship. The project aims to equip 30 teachers to implement entrepreneurial training in their schools and support 60 student entrepreneurship projects.
This document summarizes a conference on fostering creativity and entrepreneurship in schools. It discusses progress that has been made since Sir Ken Robinson's 1999 report calling for education systems to better support creativity. While some initiatives have recognized the importance of skills like collaboration, more needs to be done to reform education. External organizations are leading the way in innovative approaches like social enterprises in schools. The document outlines a poor report card on addressing the fundamental changes needed and highlights themes for the future, such as more personalized learning approaches.
This document summarizes the key messages from the second CENTRES (Creative Entrepreneurship in Schools) conference held in London in January 2013. The four core messages discussed were: 1) The importance of creative learning in introducing young people to possible creative jobs and preparing them for the future economy; 2) The need to nurture creativity from an early age through formal education; 3) Examples of innovative programs integrating creative entrepreneurship into schools; and 4) The role of partnerships between schools and creative industries to provide opportunities for young people. The CENTRES program aims to advocate for and support increasing creative entrepreneurship education in schools across Europe.
The document discusses creative entrepreneurship in schools in Europe. It summarizes a conference on creative entrepreneurship in schools that brought together experts to share best practices. The conference addressed four key messages: 1) The need to develop skills for the future creative economy; 2) Integrating creative learning across curriculums to improve students' prospects and innovation; 3) Promoting creative entrepreneurship across education and arts institutions; 4) Case studies of approaches in countries like Sweden and the UK.
The document summarizes a European project called CENTRES that aims to promote creative entrepreneurship education. It discusses how the final CENTRES conference brought together partners from 8 European countries to discuss outcomes, how to better champion creative entrepreneurship in schools, and next steps. The project created a European forum for sharing best practices in entrepreneurship education for the creative industries.
The document discusses policy recommendations from the CENTRES project, which aims to promote creative entrepreneurship in schools. It makes the following recommendations:
1) Take horizontal and integrated approaches to teaching creative entrepreneurship across the curriculum to equip students with skills needed in a changing economy and society.
2) Promote an arts revival in schools by increasing arts subjects, incorporating arts-based methods across subjects, and improving partnerships between schools and arts organizations.
3) Develop a creative entrepreneurship curriculum for schools that nurtures an entrepreneurial mindset through activities like mentoring, networking events, and pitching ideas.
Mapping innovative learning experiences in the UKeLearning Papers
CREANOVA is an EU-funded project that aims to undertake research on specific conditions and factors which are present in creative learning environments and promote innovation. While innovation is a defined imperative for European learning policy, there is a lack of evidence on what constitutes meaningful innovation and how it can be fostered and applied in learning.
Authors: Pat Gannon-Leary, Stephen Farrier
The EntreComp framework defines entrepreneurship as a competence and proposes a shared understanding of it. The framework consists of 3 competence areas - Ideas and opportunities, Resources, and Into action - which are made up of 15 competences. It provides a progression model with 8 levels of proficiency and a list of 442 learning outcomes to help develop entrepreneurial skills. The framework aims to foster entrepreneurial learning across Europe by providing a common definition and establishing a bridge between education and work.
Entrum creative industries guideline for CENTRESCentres-EU
The document summarizes a pilot program in Estonia that used a 4-step methodology to develop an enterprising mindset in students focused on creative industries. Over 4 months, 177 students participated in inspiration sessions, entrepreneurship training, and mentorship to develop 61 startup ideas, 10 of which were in design/theater/film and 6 in music. The methodology was effective in giving students experience working with businesses and understanding the ecosystem, though creative industry startups had a higher dropout rate than other fields. Participating institutions saw benefits and were interested in continuing collaboration on developing students' entrepreneurial skills.
Centres “entrum 4-steps enterprising mind- set creation” methodology guidelinesCentres-EU
The document describes a methodology called "ENTRUM 4-steps" used to develop an enterprising mindset in Estonian youth. It summarizes a pilot program applying this methodology to creative industry startups involving 177 students from 61 startups. Key results included 10 design/arts startups and 6 music startups qualifying for finals. Overall, creative industries were a popular sector for ideas but had lower survival rates than other sectors like IT. The methodology was deemed effective at inspiring entrepreneurial mindsets, though creative industry startups required most support. Partners saw benefits and were willing to continue collaborating.
CENTRES - Evaluation of pilots - ESTONIACentres-EU
This document provides an evaluation report of pilots conducted in Estonia to promote entrepreneurship and develop enterprising mindsets among youth, particularly in the creative industries sector. Two main pilots are described: 1) An incubation program that provided training and mentoring to youth startups over 4 months, with 177 youth participating in 61 startups, 10 of which were in design/media and 6 in music. 2) A "music video production action" where 300 youth collaborated over 2 days to produce a music video that aired nationally. The pilots aimed to give youth real-world experience in creative fields and connect them with professionals. Overall the pilots helped raise awareness of entrepreneurship opportunities among Estonian youth.
En introduction to creative learning and entrepreneurshipCentres-EU
The document introduces creative learning and entrepreneurship. It discusses how creativity is an important skill that allows people to solve problems and think innovatively. Creative learning focuses on developing students' imagination and creative skills, unlike art learning which emphasizes artistic expression. The document also outlines a Creative Partnerships program from the UK that aims to increase creativity in schools through collaboration between students, teachers, and creative professionals. The program involves applying creative approaches to teaching and other school activities.
Centres pilot evaluation report estonia editedCentres-EU
The Entrum Foundation ran two pilot programs in Estonia to develop entrepreneurial mindsets among youth. The first pilot applied a 4-step methodology to help 13-19 year olds explore creative industry start-up ideas by visiting business incubators and receiving mentorship. Over 100 students participated in inspiration events, idea workshops, and business skills training sessions. The second pilot had students produce a music video to give them experience bringing a creative work to a large audience, helping them connect creative production to real-world impact. Both pilots aimed to provide hands-on learning outside of schools to motivate youth and address Estonia's need for more entrepreneurially-minded graduates in the growing creative sector.
Magazine Skills for a Lifetime EU 2016 FebSage Lal
This document provides a summary of a conference called "Skills for a Lifetime - Towards a Future Proof VET" that was held in the Netherlands. The conference focused on three main themes: excellence in vocational education and training (VET) and flexible solutions for a changing labor market, lifelong learning for lifelong employability, and mobility in VET within and outside of Europe. Over 200 people participated in discussions and workshops on these themes. The outcomes of the conference will be used to provide input for EU education ministers on how to improve VET systems across Europe.
Knowledge economies and innovation society evolve around learningeLearning Papers
This summary provides the key points from the document in 3 sentences:
The document discusses how learning is shaping post-industrial societies and economies into knowledge economies and innovation societies. It contrasts views on the role of learning in emerging innovation societies from a recent European report and a Finnish national innovation strategy. The report argues that taking a traditional view of national competitiveness is no longer sufficient and that learning must move beyond institutionalized and hierarchical models to fuel true knowledge economies.
This document provides context and details about a pilot program called CENTRES that aimed to teach creative entrepreneurship skills to secondary school students in London. The program was structured around the Social Enterprise Qualification and involved 5 schools. Students learned about entrepreneurship through research, setting up their own creative social enterprises, and meeting mentors from creative industries. The goal was to give students real experience in entrepreneurship and skills sought by employers.
1. The document discusses creative entrepreneurship in schools and its strategic context. It argues that the nature of work is changing, requiring new skills like creativity, collaboration, and adaptability.
2. It provides examples of programs from different countries that aim to promote creative entrepreneurship education in schools by engaging students in practical business opportunities and connecting them with creative professionals.
3. The document advocates for policies that support partnerships between education and business to develop entrepreneurship and creative problem-solving skills in students.
Virgilio A.L. Meira Soares discusses key topics from the IAU Durban Conference, including the need to protect universities' intellectual property rights while also addressing the development gap between countries. Soares notes tensions around defining "stakeholders" and how this concept takes on different meanings depending on a society's level of development. Soares also emphasizes that universities must prepare students for a changing world while maintaining fundamental values like academic freedom despite increasing competition.
The document discusses open educational resources (OER) and the Open Courseware Consortium global meeting in Hanoi, Vietnam. It outlines the need for affordable education globally and opportunities for user-centric learning models using new technologies and pedagogies. It also addresses challenges around quality, adoption rates, funding models and the role of communities in improving access to information and knowledge through OER.
1. The document discusses trends in creative entrepreneurship education in schools and provides examples of programs from different countries in Europe and elsewhere.
2. It argues that schools need to prepare students for a changing job market where many future jobs don't yet exist and people will need to change careers multiple times, with an increased focus on creativity, collaboration, and personal and intellectual skills.
3. Examples of programs highlighted include initiatives that integrate creative entrepreneurship activities across the school curriculum, develop partnerships between schools and creative businesses, and establish qualifications and accreditation for creative entrepreneurship learning.
1. The document discusses trends in creative entrepreneurship education in schools and provides examples of programs from different countries in Europe and elsewhere.
2. It argues that schools need to prepare students for a changing job market where many future jobs don't yet exist and people will need to change careers multiple times, with an increased focus on creativity, collaboration, and personal and intellectual skills.
3. Examples of programs highlighted include initiatives that integrate creative entrepreneurship activities across the school curriculum, develop partnerships between schools and creative businesses, and establish qualifications and accreditation for creative entrepreneurship learning.
Similar to Centres state of innovation report no 1 (1) (20)
The document describes an online business competition for creative industries hosted by the CENTRES project. Students submitted business ideas as PowerPoint presentations and the best ideas were selected to present at a forum. The competition topics involved developing marketing campaigns, retail concepts, communication plans, and a mobile game app. Selection criteria included the quality of the presentation, feasibility of the business idea, and clear communication of the main idea.
Guidance and models of organising entrepreneurship forumsCentres-EU
The document provides guidelines for organizing a student summer forum to promote entrepreneurship among secondary school students. The forum aims to motivate students and teach basic business skills through experiential learning techniques. Students will be divided into teams to complete business-related tasks and challenges over the course of 4-5 days. A variety of activities are outlined, including presentations, competitions, and team-building exercises. The forum seeks to develop students' business acumen as well as soft skills like leadership, collaboration, and problem-solving under tight deadlines.
The document outlines the rules for a student business camp competition. It defines key terms like investors, businessmen, and tasks. Teams of camp participants will be grouped as businessmen and will complete tasks, which will be evaluated by investor teams and judges. An entrepreneurship index will be calculated based on team placements for each task. Points from each task will be totaled to determine the overall winning team. Teams are also given investment units to allocate to other teams' ideas, and additional points are awarded to accurately investing teams. Presentation guidelines including time limits and speaker participation are provided.
This document outlines the plan to exploit the results of the CENTRES project. The project aims to develop tools and methodologies for teaching creativity and entrepreneurship in secondary schools. The exploitation plan identifies the project's results, including an online knowledge bank and policy recommendations. It also outlines the target groups that can benefit, such as educators, students, and policymakers. Finally, it describes the main dissemination activities and instruments to transfer the results to stakeholders, such as international conferences, workshops, and the project website.
The document summarizes a policy workshop held in Prague, Czech Republic to discuss recommendations from the CENTRES project for improving creative entrepreneurship education. Workshop participants from the Ministry of Education and other organizations agreed with the CENTRES recommendations to integrate arts into curricula, develop a creative entrepreneurship curriculum, use digital technologies, and better link education and business through dedicated programs. Next steps include promoting the recommendations within national strategies on entrepreneurship and smart specialization.
The document summarizes a policy workshop held in Prague, Czech Republic to discuss recommendations from the CENTRES project for improving creative entrepreneurship education. Workshop participants including government and education representatives agreed with the CENTRES recommendations, which included taking more horizontal, arts-focused, digitally-enabled, and business-linked approaches to entrepreneurship curriculum and teaching programs. Next steps discussed incorporating the recommendations into national strategies and continuing initiatives for cross-sector collaboration and teacher professional development.
The document summarizes a policy workshop held in Lithuania to discuss stimulating entrepreneurship and creativity. It describes presentations given by representatives from the Ministry of Education, Ministry of Economy, and organizations working with youth entrepreneurship. The workshop highlighted the success of the EU-funded CENTRES project in schools and recommended continued support for developing entrepreneurship skills among youth.
Polish association for creativity pilot activity review and outcomes helsink...Centres-EU
The Polish Association of Creativity Poland conducted a pilot project to increase student competence in innovation and entrepreneurship. The project involved 150 schools across Poland implementing local creative projects like fashion shows, theater festivals, and concerts between September 2013 and April 2014. Teachers received training workshops while students completed surveys. Preliminary results found that students gained experience organizing ventures and working in groups, learning valuable skills, while more outcomes will be observed as the pilots continue through May 2014.
Polish association for creativity - Pilot activity review and outcomes helsin...Centres-EU
The Polish Association of Creativity Poland conducted a pilot project to increase student competence in innovation and entrepreneurship. The project involved 150 schools across Poland implementing local creative projects like fashion shows, theater festivals, and concerts between September 2013 and April 2014. Teachers received training workshops while students completed surveys. Preliminary results found that students gained experience organizing ventures and working in groups, learning valuable skills, while more outcomes will be observed as the pilots continue through May 2014.
How can my business benefit from engaging with schoolsCentres-EU
The CENTRES project aims to promote creative entrepreneurship in schools with support from the European Commission. The document discusses how creative businesses can benefit from engaging with schools. Mr. Nicolai Juhler from Creative Enterprise notes that businesses can influence the future workforce, stay informed of developments in education, raise their profile with young people, get ideas from students, connect with the local community, and gain truthful feedback about products from children.
The document discusses how schools can establish partnerships with creative businesses. It recommends that schools first map local teaching resources to identify goals and decide how businesses could help. Schools can create a network map of local businesses, survey businesses to learn what they can contribute, involve parents to identify contacts, or meet with businesses to discuss potential collaborations. When partnering, schools should define the topic, goals, participants, organization, and student involvement to ensure mutual benefits and quality experiences.
The document discusses practice firms, which are simulated companies run by students in schools. It provides context on the history and origins of practice firms in Europe. Specifically in the Czech Republic, practice firms have been part of the curriculum for 20 years and help prepare students for real-world work. The document outlines recommendations for including practice firms in different school types and curriculums. It also describes the characteristics and benefits of practice firms, as well as how they are set up and operated.
The document discusses career guidance in schools as a creative process. It describes the CENTRES project funded by the EU to train career counselors in schools on creative entrepreneurship and career guidance. It outlines the new role of educational counselors in providing comprehensive career guidance and education to students as a lifelong process. Some of the key challenges discussed are the narrow focus of current career guidance services in schools and the need to develop students' flexibility, creativity, and entrepreneurship through innovative guidance approaches.
This document is a project card for an educational project focused on creative sectors. The project was funded by the European Commission under the Lifelong Learning Programme. The card provides information on the name of the school, title of the project, the creative sector addressed (e.g. visual arts, performing arts, film, music), project supervisors, participants, timeline, goals achieved, and presentation details.
1. CENTRES
www.centres-eu.org
Minding the Elephants on the Common Ground
This Paper is the first of three ‘State of Innovation’ Papers written by Tom Fleming
Creative Consultancy1 for the British Council-led CENTRES (Creative Entrepreneurship
in Schools) project 2012-14 (www.centres-eu.org). This paper was written following
the first Centres conference held in Kraków in September 2012.
CENTRES (Creative Entrepreneurship in Schools) is a multi-country project
co-funded by the European Commission, British Council and eight
organisations across Europe.
CENTRES is being delivered in the Czech Republic, Denmark, Estonia, Lithuania,
Finland, Poland, Slovenia and the UK.
The project creates a European forum for issues relating to entrepreneurship
education specific to the creative industries and for sharing innovation and
best practice in this area. All of the partners involved in the consortium see a need
for increased international networking and a combined European approach in this
area, which is currently lacking.
“Creativity is not ‘the arts’. Creativity is a fundamental attribute that underpins all thought
and all learning. Creativity needs to become ‘ordinary’ – a part of the everyday life of
everybody” (Anthony Sargent and Katherine Zeserson - Beginning at the beginning, the
creativity gap).
This conference came nearly 14 years since the publication of Sir Ken Robinson’s ground-
breaking and much celebrated report for the UK Government: ‘All our Futures – Creativity,
culture and Education.’ Since then, in the UK, across Europe and globally, there has been a
sea-change in recognition of the need for education to better mirror and support the
economic, social and cultural environment that young people live in and will be joining as
(hopefully) workers in the future. This was recognised at the conference by Krystyna
Szumilas, the Polish Minister of National Education, who stressed that creativity and
entrepreneurship were now recognised across the EU as part of the eight key competencies
necessary for a ‘decent life.’
Sir Ken has gone on to be one of the breakout stars of TED, with over 12 million views on
YouTube alone for his talk on how schools kill creativity1. In the UK we have seen various
initiatives and schemes designed to capture elements of the report. These include, most
1
http://www.ted.com/talks/ken_robinson_says_schools_kill_creativity.html
CENTRES (Creative Entrepreneurship in Schools) project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which
may be made of the information contained therein.
2. CENTRES
www.centres-eu.org
particularly, Creative Partnerships: a £280 Million pound investment in boasting creative
learning in schools2. And more recently we have seen the establishment of ‘Bridge’
organisations by Arts Council England to continue building the connections between schools
and arts organisations. In Europe, the importance of developing education systems which will
help provide the talent and skills that our rapidly globalising economy requires, has been
recognised in a series of Green Papers and policies3. While in other European countries (most
notably Sweden and Finland), considerable investment has gone into developing education
systems that will produce the types of worker we need to succeed. Globally, even countries
perceived to have ‘excellent’ education systems and which are eyed enviously by others, like
Singapore, have realised that something is missing if only a narrow definition of academic
attainment is measured4:
“Singapore's schools have become global role models, with consistently high results in
international tests. But now they want to move beyond this - towards something that
cultivates creativity and what they term as ''holistic education'' (Minister for Education, Heng
Swee Keat, said this is ''less about content knowledge'' but ''more about how to process
information". He describes this challenge to innovate as being able to "discern truths from
untruths, connect seemingly disparate dots, and create knowledge even as the context
changes'').
Now, with the launch of this important EU-funded CENTRES project, which is bringing
together partners from across Europe to deliver a range of projects in and out of the
classroom, it is especially timely to look back on some of the things we have learned about
fostering entrepreneurship specific to the creative economy and to look forward to what still
needs to be done. What is the established common ground for creativity, entrepreneurship
and schools and where are the battles still being or to be fought? What does the report card
for creativity, entrepreneurship and education look like today and what can we look out for in
the future? This paper explores these agendas.
1. ‘Known knowns on the importance of creativity and
entrepreneurship’
There are really three ‘big takeaways’ from Sir Ken’s landmark 1999 report: that we aren’t
producing young people with the right types of skill and knowledge for the evolving world of
work, that we aren’t preparing them for the different way that work is and will be structured,
and that we very successfully marginalise creativity. So what does the ‘2012 innovation
report card’ say in terms of progress in each of these areas?
A) The top ten in demand and jobs in 2010 did not exist in 2004...5
At the top of any report card on the need for creativity and entrepreneurship in education is
the often-quoted truism that our schools and education systems are set-up and designed to
service a past age. In most countries this is widely agreed to be the Industrial Age with
perhaps the more advanced countries now meeting the needs of the Information Age. No
where it seems is really meeting the needs of the knowledge economy, innovation age, and
experience economy or however else we wish to categorise the economic reality we are
2
Creativity, Culture & Education The Costs and Benefits of Creative Partnerships
July 2010
3
Most recently “Unlocking the potential of our Creative and Cultural Industries”.
4
http://www.bbc.co.uk/news/business-17891211
5
In Demand 3.0 http://www.youtube.com/watch?v=jp_oyHY5bug&feature=related
CENTRES (Creative Entrepreneurship in Schools) project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which
may be made of the information contained therein.
3. CENTRES
www.centres-eu.org
increasingly moving towards. This is a world in which competitive advantage is created not
through having administrators and middle-managers, but by having more creative thinkers
and innovators. Sir Ken Robinson makes this clear in line one of his report half a generation
ago:
“Policy-makers everywhere emphasise the urgent need to develop ‘human resources’, and in
particular to promote creativity, adaptability and better powers of communication. We argue
that this means reviewing some of the basic assumptions of our education system.”6
Since then, the pace of change in business and more widely across society has accelerated.
Google was only incorporated as a company in the year Sir Ken was writing and the delights
and wonders of mobile internet and social networking were still a while off. Unfortunately,
while everyone is agreed that current education systems largely don’t meet the needs of the
creative economy, with some rare exceptions, we are not really any nearer to tackling those
‘basic assumptions of our education system’. In the UK, we still have an education system
whose success or failure is judged on the passing of exams in core subjects (which have not
changed). Across the rest of Europe, the economic crisis and huge rise in joblessness for
young people, is starting to see more thought going into ensuring that we produce the
workforce we will need to compete globally. But in most countries this is not filtering down to
the classroom or wider learning offer.
What we are seeing emerge instead is organisations external to schools who have the
freedom to operate in ways which not only promote creative learning but provide progression
routes directly into the creative industries. One such organisation in the UK is Contact in
Manchester, which has developed informal and formal learning courses based around theatre
with the simple vision that young people “are empowered by creativity to become leaders in
both the arts and their communities.”7 It does this by offering a fluid and flexible range of
courses, with crucially many of the assistants on these being only a couple of years older
than the students. The end result is that young people learn about work through working on
live projects and working as consultants to a range of organisations.
At the Centres conference Jerzy Miller and Aleksader Palczewski from the Polish state
of Małopolska emphasised how they believe introducing the process of organising a
real event, with a timeline, marketing and business plan, securing partners and
sponsors was something they were keen to see rolled out in more schools.
Report card verdict: Could do far better – we are only scratching the surface of what
needs to be done to gear our schools for the creative economy. A shorthand of looking at it
is to reflect that we are teaching young people on ipads – but not tackling how the ipad (and
other related technology) massively effects the what, why, when and where of learning.
B) A current school age American will have 10-14 jobs by the time
they are 388
If we are not tackling the basic assumptions in education around the changing world of
work; and we are also not dealing with the fundamental changes to individual careers and
6
National Advisory Committee on Creative and Cultural Education All our Futures – Creativity, Culture
and Education.’
7
http://creativecities.britishcouncil.org/files/data/kbfcj/fcj_case_study_8_contact.pdf
8
US Dept of Labor statistic
CENTRES (Creative Entrepreneurship in Schools) project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which
may be made of the information contained therein.
4. CENTRES
www.centres-eu.org
working life trajectories. Sir Ken described the need to produce workers who would not do
one or two jobs in a life, but many (sometimes consecutively as freelancers) through
describing the skill-sets business was looking for:
“The business community wants education to give a much higher priority to promoting young
peoples creative abilities; to developing teamwork, social skills and powers of
communication.”
The report card here would say that elements of this have been recognised and some
progress made. We teach young people in schools how to use communication tools like Word
and Powerpoint and work-related learning (and work experience) is now a statutory
requirement in many curricula across Europe. Certain schools are going much further than
this, recognising that to teach these interpersonal and non-academic skills and excite more
young with learning, a new pedagogy is needed that reflects a changing world. This can be
summed up as moving towards a culture of ‘we’ and ‘with’ rather than the traditional ‘to’ and
‘for’ – less instruction, more collaboration and partnering on projects.9 One great example of
this in practice is through schools establishing social enterprises:
“ All schools should be the base for a productive social enterprise so that children associate
learning with work, get pleasure from working productively together and contributing to a
business...Education is too cut off from the real world. One way to provide children with
more opportunities for real-world learning is for all schools to
become productive social enterprises.”
Rio (The Real Ideas Organisation10) whose Director Lindsey Hall spoke at the first Centers
Conference, has been pioneering this approach and is advising on the launch of the first
school in the UK to have its curriculum and philosophy structured around running a social
enterprise. Rio has also pioneered a qualification in Social Enterprise which is part of taking
radical ideas into the mainstream. Professor Krzysztof J. Szmidt from the University of
Lodz in his presentation emphasised that the role of the teacher was was to ensure
that the learning process was properly structured so that students could unleash
their passions and develop their strengths. For him a critical issues was the fact that
too many teachers are failing themselves to keep up with the changing nature of the
world.
Report card verdict: “See me after school – preferably in an after-school club run social
enterprise”. Much more needs to be done to get schools partnering with social and private
businesses as part of their core activity.
C) Creativity is not the arts...
Getting wider acceptance that all this ‘creativity stuff’ should not be seen as add-on for
young people in schools – something sweet to eat after the hard work of consuming the
‘greens’ of maths, science and technology – seems to be a thankless and always uphill task.
In terms of our report card it really can’t score more than a C-minus for progress. Sir Ken
Robinson recognised that the danger his report faced was that it would be marginalised to
9
See Charles Leadbeater ‘What’s Next? 21 ideas for 21st century learning.”
10
http://realideas.org/
CENTRES (Creative Entrepreneurship in Schools) project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which
may be made of the information contained therein.
5. CENTRES
www.centres-eu.org
the borders of the school curriculum, so he adopted a somewhat cautious approach to
promoting the all-encompassing nature of creativity as a must have:
“In our view, creativity is possible in all areas of human activity and all young people and
adults have creative capacities. Developing these capacities involves a balance between
teaching skills and understanding, and promoting the freedom to innovate, and take risks.”
Curiously enough, it is often those that have succeeded most in ‘serious’ scientific fields who
understand and value creativity the most. Sir Harry Kroto, winner of the Nobel Prize for
Chemistry and discoverer of Buckminsterfullerene, recently gave a lecture entitled ‘creativity
without borders’ - with his central tenant being the four things all teachers need to instill in
young people. Without mentioning the Periodic Table once, he states the challenge as:
“To sum up teachers have a lot to do: a) Catalyze the creative potential for every child; b)
Foster the ability to decide what they are being told is true; c) Encourage curiosity about
everything; d) Make sure children do not accept unquestioningly what people tell them; and
e) Encourage children to work things out for themselves. In fact it is vital that they accept no
one’s word without question on major issues including their parents, their teachers, and most
importantly themselves.”11
While this approach is undoubtedly one taken by the best teachers in the best schools, it is
not something that is often inscribed within the system, but rather a way of thinking or
philosophy that external organisations bring. In Slovenia, Studio Pešec12, a pioneering design
company that works with young people at college has developed a method called the ‘scrum’
- which sees everyone engaged on a project, including the client, engaged in a review
process which openly critiques and questions what has worked and what still needs to be
done. Thereby it teaches from the start that an open approach to challenging and
questioning is what is needed for success in the creative economy.
Report card verdict: Must concentrate harder – on bringing together partners who will
actively challenge the status quo – and provide young people with experiences that mirror
what they can increasingly expect in work.
2. 2020 vision: Three Themes for the Future
What then of the future for creativity and entrepreneurship in schools? In view of the poor
report card on dealing with the big issues to date, clearly it is a case that there is much
fundamental work to be done. But what about the exciting and new? Here there are three
potentially big themes that we should see played out, if we are to produce young people
more suited to the world of work in 2020 and beyond.
A. Personalised and individual
Just as most of us expect to watch the TV programmes we want, when we want, and in a
way that suits us (on our mobiles, tablets or the screen on the wall), so education is
becoming increasingly personalised for young people. In developing countries, where
necessity is so often a driver of disruptive innovation, thing are advancing faster and further
11
http://www.asianscientist.com/features/nobel-laureate-sir-harold-kroto-buckyball-discovery-science-
education-and-creativity-2012/
12
http://creativecities.britishcouncil.org/files/data/kbfcj/fcj_case_study_4.pdf
CENTRES (Creative Entrepreneurship in Schools) project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which
may be made of the information contained therein.
6. CENTRES
www.centres-eu.org
than Europe. Charles Leadbeater cites an example from Brazil, where the Luminar institute
has created two model schools - in Sao Paulo and in the mountains outside of the city
“In Lumiar Institute schools, learning is organized around key questions and themes, agreed
with the children at the start of the term, rather than around a set curriculum. Teachers are
supported by adults who bring specialist, non-teaching skills, like video production. Children
are grouped by the stage they have reached rather than their age. They acquire literacy and
numeracy skills through their projects. The schools are modelled as self-regulating learning
communities. Modern technology, especially the web and video, is woven into the way
children learn, even in the rural school where many of the children do not have electricity at
home”13.
As Leadbeater acknowledges, such approaches count for little if the child is not supported
outside of the classroom, but this type of radical, child-centred and individual method is
clearly better suited to the needs of the creative economy.
B. The rise of the play ethic
One of the benefits of the increasingly networked and digitally connected world has been the
rise of more open and collaborative forms of learning and engaging. Central to these has
been the recognition that ‘play’, long dismissed as the ‘work’ of children, is actually a central
component to learning and should be seen as a vital part of education. As Pat Kane writes, it
is something we should keep with us for life:
“The play ethic is about having the confidence to be spontaneous, creative and
empathetic across every area of you life - in relationships, in the community, in your
cultural life, as well as paid employment. It's about placing yourself, your passions
and enthusiasms at the centre of your world”14.
Social entrepreneurs in developing countries have been quick to realise that teaching
based on play can engage those who otherwise wouldn’t actively participate15.
Often it is linked to concept of learning through engaging with social problems –
something that RIO in the UK is pioneering. A future where play, social
entrepreneurship and real life challenges are combined, should be a powerful force
within education.
C. Maybe the web does change everything
Up until today, schools have, with varying degrees of success, adapted technology for the
classroom - such as computers, tv and radio. Interactive whiteboards (present in every
school in the UK) have moved things on even further, allowing young people to learn in ways
that reflect the way they learn outside of the classroom. For the first time though there is the
possibility that the internet – in its increasingly all pervasive, multi-platform and multi-device
cloud form – could fundamentally change how we deliver learning. As Leadbeater writes:
13
Charles Leadbeater and Annika Wong Learning from the Extremes
14
Pat Kane, Observer Newspaper June 2000
15
Leadbeater ibid
CENTRES (Creative Entrepreneurship in Schools) project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which
may be made of the information contained therein.
7. CENTRES
www.centres-eu.org
“It could be that web may prove to be more elusive and less easily absorbed into the
establishment, not least because it puts power in the hands of users and takes control of
information out of the hands of established hierarchies, such as schools.”
He believes that it will be where the web is ‘brought to life’ by social entrepreneurs and
innovators where the real impact emerges. He is looking from the perspective of the
developing world where quality teachers are in short supply, but for the developed world
there is clearly much that can be learnt from encouraging our own entrepreneurs to engage
with young people using technology platforms.
So as we look to the future of creativity and entrepreneurship in schools, it maybe those
‘basic assumptions’ of Sir Ken’s have to be left as ‘elephants in the room’, while we develop
ways round them. They are, for reasons of politics, clashing philosophies and mindsets,
seemingly insurmountable for many of our education systems. Instead rather, we need to
think and act as do the best social entrepreneurs, seeing opportunity where others see only
problems. One great example of this is Abbeymead Primary School in UK. The school wanted
to redesign their curriculum to focus on learning through real experience; building effective,
sustainable links with their community and the wider city of Gloucester:
“Teachers and pupils have evolved their curriculum topics to focus on social enterprise,
utilising local businesses and products as a resource for real learning opportunities. Work
that has come out of these topics includes rebranding the city of Gloucester with the PR
agency commissioned by the Council, developing a plan to improve the lives of residents at a
local old peoples’ home, and working with food producers to set up and
run a local food market”16.
The result is not only a school which feels in tune and creatively engaged with the
21st century world around it, preparing pupils for an economically and socially
challenged environment, but one that has been recognised as ‘outstanding’ by
Ofsted (the body that assesses schools in the UK and is charged with maintaining
traditional academic standards).
Development of creative engagement between schools and their local community is
we believe one of the essential ways in which they can better connect to and
support the creative economy in our cities and regions. In a recent report we wrote17
that this is a ‘crisis of confidence and opportunity amongst our young people’ across
Europe that we need to overcome if we are to
“innovate and develop a new generation of high value products and services which re-
balance the economy, generate wealth, engender confidence and improve our wellbeing,
then we need to provide the enabling conditions to develop the right mix of skills, attitudes
and expectations amongst our young people.”
The opportunity for the Centres Project is to pilot and demonstrate projects which
provide new and exciting interfaces and transitions between education and work
16
http://schoolsservice.realideas.org/node/1732?ref=1457
17
http://creativecities.britishcouncil.org/files/data/kbfcj/fcj_final_report.pdf
CENTRES (Creative Entrepreneurship in Schools) project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which
may be made of the information contained therein.
8. CENTRES
www.centres-eu.org
encouraging schools and governments across Europe to develop their own
approaches. While Creative Economy policy is often driven down from the top at a
strategic level – it remains the case though that most successful creative businesses
are firmly routed in and spring-from the communities and places they are
established and thrive in. The Centres Project through offering easy access to good
practice (through an online knowledge bank) and the creation of a new network
committed to improving policies and practices should play a major role in ensuring
that the strategic and practical are brought together.
In our next State of Innovation Papers, we explore further the above and more
issues, including approaches which position creative learning as an approach that
‘closes the attainment gap’ between young people from different social
backgrounds. We also explore links between creative learning and the
development of aspiration and skills for employment in the Creative Economy.
CENTRES (Creative Entrepreneurship in Schools) project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which
may be made of the information contained therein.