An Evaluative Study of … living the arts in ipswich…

2009

A Creative Community Hub Artist in Residence Project

This report was written for the Primary Arts Network Ipswich by

Dr Margaret Baguley University of Southern Queensland

Ms Miranda Free Griffith University

Ms Lee FullARTon Primary Arts Network Ipswich

Graphic Design: Miranda Free

Images: Lee FullARTon & Sue Hammond

ISBN:978-0-9807529-3-9

This project is supported by the Australia Council for the Arts, the Australian Government’s Arts funding body, and by the Queensland Government through Arts Queensland.

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About PANI

Primary Arts Network Ipswich (PANI) was established in 2002 in the Moreton Region. It is a voluntary, Teacher run, non-profit organisation that sits under the umbrella

of Education Queensland (EQ). The network’s main activities are the provision of professional development (PD) workshops, Teacher conferences, Artist in Residence (AiR) projects, advice regarding Arts Education and advocacy for the place of the Arts in education.

PANI professional development workshops, action learning programs and conferences for teaching in and through the Arts include all five strands of The Arts (Visual Art, Music, Drama, Media and Dance) and have been attended by nearly 2000 Teachers.

Over the last two years, 376 students across the region have been directly engaged with Artists and their arts practice through the following projects: Primary Focus - small worlds, Hip Hop - A Dancer in Residence and The Numbellie Seat – A Lighthouse Project (an Indigenous Perspectives Project). All projects produced Artistic outputs that significantly contribute to the recognition and identity of young people as well as the cultural fabric of the Ipswich community. Other arts projects initiated by PANI include Rubbish on Q a collaborative project with Goodna Special School.

PANI has established collaborative community partnerships with Ipswich Art Gallery Ipswich City Council (Primary Focus AiR Program) and research partnerships with The University of Southern Queensland (USQ) Springfield and Griffith University (GU) Brisbane and Logan.

Key to PANI’s Arts advocacy for young people is their development and management of AiR projects that have directly linked learning and teaching, Artists and communities, schools and research and which are underpinned by current best practice models.

In order to better understand the impact of AiR projects and maximise their educational outcomes PANI has partnered with USQ Springfield and GU Brisbane and Logan to undertake ongoing research and evaluative studies. Findings have been published in reports and academic journals and presented at national conferences.

PANI’s contribution to the Arts and Education has been recognised through winning the Ministers Showcase Award for Excellence in Leadership (2007) and the Metropolitan Regional Award in 2010.

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Primary Arts Network Ipswich believes that engagement in meaningful

creative and cultural experiences builds a healthy, cooperative, strong

and sustainable society. Through creating partnerships between

learning, teaching, research and community sectors PANI aims to broker

access to an arts rich education for all young people.

Mission Statement

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...living the Arts in Ipswich...What is CCHAiR?

Creative Community Hub Artist in Residence Pilot Project

The Creative Community Hub Artist in Residence (CCHAiR) project was funded by Arts Queensland as a key

component of the Arts Culture + Me: Children and Young People in the Arts Action Plan 2008-2010. These funds became available as a result of the Australia Council for the Arts ‘Education and the Arts Strategy 2009 – 2012’ which dedicated $5.2 million to negotiating programs between arts and education agencies in each state and territory for the Creative Education Partnerships: Artists in Residence (AiR) in Schools Initiative. In 2009, 78 projects were implemented across Australia, with six carried out in Queensland. PANI was one of the two Queensland organisations selected and were responsible for implementing three AiR projects in the Ipswich Moreton region. PANI was selected due to their track record for implementing AiRs, strong arts, education and community partnerships in the Ipswich area and their established expertise.

The three projects implemented by PANI in schools in the Ipswich Moreton region were undertaken across the early and middle years of schooling with professional Artists in visual art, performing arts (drama strand) and filmmaking (media strand). Residencies were aligned with the current unit of work within the classroom. Teachers developed assessment tasks related to the strand of The Arts implemented for each AiR in conjunction with the Queensland Studies Authority. The residencies took place for one day each week over an eight week period.

The following aspects were embedded within the project:

• Professional development for Teachers and Artists presented by PANI prior to implementation of the project

• Professional development workshops for Teachers presented by the respective Artist

• Engagement workshops for parents and school communities presented by the respective Artist

• Engagement with school leaders to develop their knowledge of The Arts and sustaining of The Arts in their schools

• Evaluative research undertaken with university partners USQ Springfield and GU Brisbane and Logan

• Documentation through still and moving images including the production of a short documentary vignette

A highlight of the CCHAIR project was the Showcase Event ‘...living the Arts in Ipswich...’, a community event that was celebrated with Artists, students, Teachers and 350 family, school and community members at the Railway Workshop Museum Ipswich.

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Drama Residency3, 2, 1 Launch into Drama

SchoolKruger State School is situated in an outer suburb of Ipswich that has over 900 students with diverse cultural backgrounds. Performing Artist Emma Che Martin worked with classroom Teacher Toni Edwards and 26 Year 5 students in the Arts strand Drama.

ProjectEmma Che utilised a unit of work on SPACE designed by Teacher Toni Edwards to devise a performance around the theme of outer space and performance work in front of an audience. Students also reflected on their performance. Using the children’s knowledge and understanding of space Emma Che workshopped this prior experience through tableaus, freeze frames and visual artworks to inspire scripts for small and whole group collaborative performances. Throughout this journey the students reflected on the dramatic process through the use of visual journals.

Emma Che established connections with the students through using drama techniques to build trust and confidence in each of the students. Due to Emma Che’s skill and expertise the students enthusiastically participated and sustained their energy in the process for long periods of the day with time for reflection in the afternoons. The students’ creative outputs included performance, visual art and writing. They participated in collaborative conversations and negotiations throughout the residency.

ArtistEmma Che has been a regular workshop facilitator for Backbone Youth Arts since 2008. She has also facilitated workshops for Barking Gecko Theatre Company (WA), Noble Rob Theatre Company (WA) and in Detention centres, Youth Arts festivals and Aboriginal communities around Australia.

Emma Che trained as an actor at Rose Bruford College in London to attain her BA(Hons) Acting, and received a Master of Arts (Theatre Practices) at the Western Australian Academy of Performing Arts (WAAPA). Emma Che has engaged in physical theatre training with the avant-garde Song of the Goat Theatre (Poland) and New International Encounter (Czech Republic). Shae has also has undertaken clown training with physical theatre performers Tom Greder and Frazer Hooper.

As a performer and director she has worked on many independent and collaborative productions in Brisbane and Perth. Emma Che has also worked as a director in association with the Queensland Arts Council ‘In Schools’ program.

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I found this project highly effective for highlighting the importance of The Arts within the school’s curriculum. It gives the Teachers an opportunity to learn more about the specific strand of The Arts and feel confident in embedding it into their curriculum.

The children took a journey through drama, but along the way learnt about important aspects like confidence, trust and interaction with peers. These facets were fantastic.

Toni Edwards

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Visual Art ResidencyThe Big and Small of Farm Life

SchoolRaceview State School has an enrollment of over 900 students and is located not far from the centre of Ipswich. It was established in 1901 and many generations of the same families have attended the school.

Visual Artist Sara Butcher collaborated with early childhood Teacher Heather Stubbs and 25 Year 1 students to undertake a visual study of animals, big and small, that inhabit a farm.

ProjectSara and Heather planned for students to create a folio of visual artworks in addition to recording their reflections in a visual art diary. Student investigations of the big and small of farm life included experiences from an excursion to a farm and the examination of small creatures under microscopes. Sara discussed her artworks with the students, several of which incorporated animals. Sara guided the children in the exploration and use of a variety of materials and equipment, and through techniques and processes to create both individual and collaborative artworks for exhibition. Students created handmade journals to document reflections on their learning as well as thoughts, feelings and ideas about the process.

Sara spent an extensive amount of time preparing the workshop materials so that the Year 1 children would be able to work independently. The classroom was transformed into a working studio with clearly identified areas and equipment for children to continually experiment and explore their new found art skills . The body of work was sequential and built upon the students’ skills and confidence developed throughout the residency.

The majority of the day was spent making art with afternoon sessions dedicated to personal journals and reflective writing on the processes undertaken. Photographs were taken of the art making during the day and were shared with the class through the interactive whiteboard. Children responded to the imagery and were able to articulate what they were making and their feelings about their work. They were thrilled to see themselves on the screen and through the discussion process were able to enhance their skills in art appreciation. Sara and Heather worked together to evaluate, discuss and moderate students work for assessment.

ArtistSara Butcher received her Bachelor of Visual Art (Fine Art) with Honours at the Queensland College of Art, Griffith University and majored in printmaking and sculpture. She has exhibited extensively at various venues since graduating from university and her work is represented in the National Gallery of Australia as well as private collections throughout Australia and Europe.

Sara believes that working with children over the years has taught her to never underestimate what they are capable of understanding and achieving. Her most important priority is to always provide a valid art experience for participants in her workshops. Sara ensures that the studio environment is conducive to exploration and experimentation with adequate space, materials and a relaxed atmosphere. She also believes that if children handle and explore a wide variety of art materials it increases their confidence and subsequently contributes to their originality, imagination and ways of making meaning about the world.

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The AiR project has had a profound influence on all involved. The children discovered a passion for learning through their creativity. Every ‘Art Day’ presented new ideas,

materials and challenges.They lost their fear of being wrong and discovered the joy and sense of self worth through their own creative expression. Through the new skills they

were learning – line, shape, texture - the creative person sprung to life.The children were totally engaged in learning and engrossed in experimenting, taking risks, trying new

things, reflecting and having fun. It was like they had discovered a new language, one they were totally a part of and used with confidence.At the end of each day we were

exhausted and exhilarated, amazed and inspired.Heather Stubbs

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Media Residency Brainfright Productions Junk Animation

SchoolLeichhardt State School is close to the central township of Ipswich. The school population of about 200 includes students from a range of ethnic backgrounds. Film makers Miles Blow and Jules Pitts shared their Arts practice with classroom Teacher Sasha Robinson and 20 students from a year 4/5 composite class.

ProjectMiles and Jules created a film studio within the school which enabled them to share their unique creative process and technical expertise with the students.

A unit on the life cycle of a plant from which the residency evolved was developed by Teacher Sasha Robinson. Students were challenged to meet the brief of interpreting the life cycle of a plant beginning with the seed and representing their story by using and animating junk materials whilst working in a new and unfamiliar creative way.

During “production meetings” students created their own company, Brainfright Productions, which consisted of small groups that each developed collaborative animations. Group members alternated between the roles of writer, director, set designer, prop maker, animator and visual recorder. Students worked intensively with Miles and Jules to create their films, enhanced these with sound effects and edited their final animations. The students also documented their journey through a reflective diary.

ArtistsMiles Blow and Jules Pitts have been working collaboratively since 1997. They both received a Bachelor of Arts (Visual Art) in 1997 and an Honours degree in Film and Television Production (1999) at the Queensland University of Technology. Miles and Jules have worked continually in the Arts, Film and Education sectors creating stop motion animations, live action short films, installations, music videos, prosthetic makeup effects and puppet design and creation. In 2003 they began their small business Mulesfilm.

Since 2004 Miles and Jules have worked on their own feature length stop motion animation titled Wombok Forest which is due for completion in 2010.

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We feel the Artist in residence program is essential in schools. Through our experience in this project we have seen how necessary this is. Children need at a very young age to have this other contact, “the practicing Artist”, to help nurture creative thinking and art making. If this is developed and nurtured early in every school we think that not only will the students and Teachers benefit, but parents

and the community will benefit culturally as well. MIles Blow and Jules Pitts

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A Showcase Event...living the arts in ipswich...

From across the Ipswich Community 350 guests came together to celebrate The Arts and young people at the culminating Cultural Community Hub Artist in Residence Pilot Project event: ...living the arts in ipswich...

The PANI team and Artists worked to transform the venue of The Workshops Rail Museum into a space that could host a multi-disciplinary display of creative artworks including an exhibition of art works, a performance and a film festival.

All five strands of The Arts were represented throughout the evening with music being provided by the RSL Youth Band comprised of primary and secondary students from local schools who presented inspiring Big Band numbers. The Raceview State School String Ensemble played atmospheric musical compositions thorughout the evening

The atmosphere and community cohesiveness was palpable on the night, and imagery recorded during the event captured the essence of the three schools and the wider community coming together to celebrate student achievements. The collective achievement of the students was celebrated with pride. Special tributes were made to all participants of the project and especially the Artists for the for the skills and expertise they provided. Students, Teachers and Principals were also congratulated for the pivotal role they played in the process.

‘...living the arts in ipswich...’ provided both a showcase of the creative works made during the CCHAiR Pilot Project and a moving tribute to the role children play as contributors to the cultural and social fabric of Ipswich.

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Artists in schools Research background

Daniel Pink in A whole new mind (2005) proposed that society is moving from the ‘knowledge economy’ to the ‘conceptual age’ and noted that fundamental to operating in this society successfully will be the concept of creativity. This concept was explored further by Davis (2008) in the National Review of Visual Education who argued that the current global shift of communication to the visual requires educators to prepare students with the skills to ‘create, process, critique and appreciate the spectrum of visual phenomena in the individual’s external and internal environment’ (p. 11). The review also proposed that ‘the curriculum stalwarts of literacy and numeracy are no longer sufficient to equip students with the basics they need to operate in the innovation oriented, digitally wired twenty-first century’ (Davis, 2008, p. 10).

Creativity is seen as being the new economic driver for international competitiveness (Davis, 2008; Robinson, 2001; Sawyer, 2006; Wind, 2006). Recent international research also reveals a focus on the connection between The Arts and their ability to foster creative and lateral thinking (European University Association, 2007; Gallagher, Campbell, Esch, Malin, Mayes & Woodworth, 2008; Oakley, 2007). However, Bamford (2006) notes that although The Arts appear in the educational policy of almost every country on a global scale, there is a disjuncture between the ‘lip service’ given to arts education and its priority within schools. Winner (2007) supports this view and proposes that The Arts have been trivialised in the education sector.

Many educators have advocated for the value of arts-based pedagogies, multiple ways of knowing and multiple intelligences (Bamford, 2006; Eisner, 2002; Gardner, 1993; Wright, 2003). As Davis (2008, p. 162) notes, high-level creativity is ‘becoming an essential skill for students to cultivate in an increasingly competitive contemporary society’. This is supported by Oakley (2007) who comments in her report, Educating for the creative workforce: rethinking arts and education that if creativity and innovation are now of more importance in the workplace, ‘then there is clear evidence that arts education and creative practice have a particular role in developing these attributes’ (p. 42). However, the National Review of Visual Education in Australia reveals that ‘current provisions for visual education appear not to match the direction of education, economic and social policy’ (Davis, 2008, p. ix).

International arts education research literature reports on various models that engage professional Artists that seek to enhance arts education in schools. These models, which

include apprenticeships (Griffiths & Woolf, 2009), mentoring programs such as Arts Impact (Gonzalez & Watts, 2006) and arts integration programs such as Learning Through The Arts (Smithrim & Upitis, 2005), seek to increase understanding of and efficacy in using The Arts to expand the repertoire of techniques available to Teachers and promote active, creative teaching and learning (Oreck, 2004). Each of these programs engages practicing Artists so that the particular skill sets they possess are demonstrated authentically enabling the best opportunities for promoting understanding of creative practice for Teachers and students. The CCHAiR project incorporated a thorough evaluation which has resulted in research data that provides information regarding many aspects about the experience of AiR in the Australian context.

MethodologyA modified multiple perception analysis (Ecker & Baker, 1984) incorporating a grounded theory approach (Corbin & Strauss, 1990) was adopted so that both qualitative and quantitative data could be used to provide useful interpretations regarding the impact of the project for participants. All participants (including students) were required to respond to various questionnaires and surveys. Teachers, Artists and Principals engaged in digitally recorded interviews and forums facilitated by Researchers. Interviews and forums were transcribed, checked with participants for accuracy and thematically analysed. Results of surveys were collated, numerical data was analysed using SPSS software and comments categorised. Data from all sources were analysed sequentially so that emerging themes of interest could be further interrogated through subsequent data collections. Additional data sources included reflective diaries kept by participants, photographic and video records and personal reflections of participants.

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FindingsFive of the major themes that emerged from the research are reported in the following pages and include:

1. Giving Children a Voice

• Social and emotional learning opportunities

• Equitable opportunities for students

• Immersion in The Arts

2. Learning In and Through the Arts

• How The Arts can enhance learning

• Learning that only The Arts can foster

• Utilising children’s natural love of The Arts to enhance their learning

3. The Artist-Teacher Partnership

• Characteristics of successful partnerships

• Professional learning through the partnership

4. Professional Development

• Expertise gained

• Mutually beneficial professional development

• Creating connections

5. Community

• Community connections

• Value of The Arts within the community

• Celebrating The Arts

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Theme 1: Giving Children a Voice The arts are an important means for children to express their thoughts and feelings, particularly when their skills in writing or speaking are limited. One of the earliest forms of mark making for children happens during the scribbling stage. As they progress further in their development they are delighted to discover that they can begin to master various media and that their manipulation of ‘marks’ can have meaning to themselves and other people.

During the CCHAiR project the researchers found that some of the children who may not have been achieving academically and whose classroom behavior expressed their frustration were able to find their voice through The Arts. One of the case studies refers to ‘Tony’* a Year 1 student who had limited writing skills and low concentration levels. As the Artist in residence progressed Tony exhibited much higher levels of concentration and could work on various tasks for longer periods of time. In addition, he wanted to document the various techniques he had learned in his visual diary, and to write about his experiences. Although the Teacher initially typed what the students wanted to say and then pasted these words into their visual diaries, the students eventually moved to expressing their own voices by handwriting in their journals.

The following three key aspects which arose in the theme of ‘Giving Children a Voice’ are supported by quotes from Artists, Teachers and Principals involved in the CCHAiR project:

Social and emotional learning opportunities... it all looked gorgeous and I was blown away with their creativity. What I was looking at was how far the kids were going in terms of their groups skills and being able to talk to each other, their rapport with you and their own excitement with what they were doing ... in that film studio these kids they were so proud of what they were doing and I still get goose bumps about it because my kids – the fact that they even did this. (Teacher)

I have to say that I think my little group changed a lot through that project because they really work as a group now and really help each other because we really fostered that working in groups and communicating and talking and commenting on each other’s artwork and helping people. When I first went in there it was very much, ‘she’s doing this, or she’s getting that, I haven’t had a turn’ or whatever and by the end of it a lot of that had gone. We tried to foster independence, like create a studio environment where they help themselves to the materials they need so that was making them feel more confident. But this is what is so amazing, no one got sick and ran off and did whatever, they were all sitting there focused. No one threw clay around or things that you would expect in a classroom and it happens all the time or muck up or put paint on someone, nothing like that at all. It was quite amazing. They were all very serious and intense. (Artist)

I think they have and I think they’ve gelled as a class because of that. I think personally for the kids, on their level, I think they’ve learnt to take a risk and I guess to feel a sense that they can do that without being laughed at. That it doesn’t matter if it’s not perfect. For the other kids it’s actually recognizing that they can congratulate kids on what they’re doing or just accept that what they’re doing is okay. So I do believe that and when they’re doing their reflecting and writing in their journals, I think there’s a self awareness that’s growing. (Principal)

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Equitable opportunities for studentsYou just know they need, they need this form of expression because of where they come from [low socio-economic background] and what happens. It is your only voice sometimes and if they are never allowed to have that voice, what could happen to them? (Artist)

The kids were being able to participate in such a select project I think, it wasn’t everybody got to participate. I think the fact that they were able to work with Artists, actual professional Artists, I think was the most brilliant thing for my children because in this community it would never happen. The fact that one day they will see the Artists [film] showing at a cinema somewhere and to know that they worked with those Artists, they know those people, will just be so amazing for their confidence and their belief that they can do anything, you know because that’s something that is huge here. (Teacher)

Well it’s an opportunity I believe, probably primarily due to the low socioeconomic nature of the area and the population it was an opportunity that wasn’t likely to happen otherwise. It was certainly not a program we could have self-funded. Certainly the visual art program has shown that our children are highly engaged when it’s a quality program. So I felt that the opportunity, particularly the fact that it was filmmaking and media, it added that extra layer because we’ve got a dance component, we’ve got a visual arts component. To say that we have a global focus on The Arts per se in our school we need to be doing something more than just visual art. So it was an exercise in seeing if we could broaden the base of The Arts in the community. (Principal)

Immersion in The ArtsIt’s been much more successful than what I thought ... how smoothly it ran, how involved the children were, I just didn’t have any difficulties at all. It was amazing ... in other areas and also their attendance ... They are just totally engrossed for hours, they would be, all day... they were showing imagination beyond what I thought that they would be ... their attention to detail, and that developed as the program went on. Their skill base, it was just amazing the kinds of things – attention to detail, they would go back later, especially with the canvasses. They worked on it for over a few weeks. They’d start and then they did a lot of layering and so they’d go back and look at it and think about colours and some of them used ink at the end ... and really some of the photos I’ve seen, there’s absolute concentration beyond belief. (Teacher)

We watched the first day when we just put a few sound effects on in each group, so we had a screening in the classroom and all the kids are loving it and clapping and they’re going out in front of the group and answering ... and talking about how they created the sound effects and the vibe was great. (Artist)

[referring to one of the children’s artworks] ... Well that wouldn’t be out of place you know, in an adult art exhibition really. (Principal)

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Theme 2: Learning In and Through The Arts

We have all observed young children making marks with whatever materials are available. A number of researchers have argued that children are already experts in The Arts before they even encounter any formal education. Because The Arts are such a personal form of expression children can become easily discouraged if this innate creativity is mismanaged. Children’s natural love for The Arts is a potent resource which can be used by educators to enhance learning. The arts also assist children in learning more effectively, such as by utilising music to learn the alphabet.

Children love to engage in The Arts at a young age and this is a wonderful way for them to maintain their natural desire to learn about themselves and their world. The arts foster imagination, curiosity and most importantly creativity, which are all elements that drive learning. Educators need to understand how to fully maximize these ways of learning so that they cater for the learning needs of all children. Because The Arts foster higher order thinking skills they also enhance creative and lateral thinking. In a world with so many complex global problems we need these types of thinkers. During the CCHAiR project it was evident that the children undertook many different learning journeys. Throughout this process each child discovered new skills and ways of expressing themselves through various art forms.

The following three key aspects which arose in the theme of ‘Learning in and through The Arts’ are supported by quotes from Artists, Teachers and Principals involved in the CCHAiR project:

How The Arts enhance learningI just think it’s helped with their space test, maths test. They had a much better idea ... last semester it was like I don’t know what you mean. I mean that could be just developmental and how they’ve gone but I think that a lot of it would be to do with the things they’re doing because they talk so much about shape and line and texture and 3D and 2D all those words. One dimensional, two dimensional. We have a whole word wall. Of all the words they were using and it just rolls off their tongues now. Words that they’ve become really familiar with, it’s just become part of their language. (Teacher)

In the last session we write in the journals. At first the children were going to the Teacher and she’d be on the keyboard, typing up their reflections, printing it out and cutting it out and gluing it into their book. Now they’re all writing in their journals. Now there are tears if they don’t get to finish writing in their journal ... It’s an art project but they definitely love these journals and writing all about it. It’s fantastic, they’ve blossomed. (Artist)

I believe that the use of the laptop, of the ICTs and the web cams were all highly engaging ... probably the additional ICT skills the kids in that class have acquired. You know, there will be a copy of their movie that they’ve made that they can take home if the parents haven’t been able to come to the Showcase, those sorts of things.(Principal)

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Learning that The Arts fosterI think it’s all about success and self esteem and a lot of it as well and if children haven’t seen a lot in their life of success in what they do, whether it’s at home or at school, they tend to be on the back foot as it is and they don’t get a lot of encouragement or praise and just to see their faces when they show Lee something they’ve done or Sara or myself it was just, it was amazing. How they would talk about themselves and hold themselves up high and straight and talk confidently. (Teacher)

I think what they’re [students] doing is really, really good. I think they’ve really come a long way and they’re really embraced theatrical language and a reflection and understanding of that as well. Like I had to show one of the girls, she was working on her little performance piece and I came over and she was talking about everybody else. She goes, ’Oh we need to do eye contact like we do in that game at the beginning, you know the clapping one.’ I’m like ‘Wow!’ You know those connections are being made which is just beautiful. So I am seeing those connections being made. So their outputs are really good. I really do feel that. (Artist)

[Referring to schools] Everyone wants you to do everything all the time and you’ve really got to prioritise it. So you’re doing, you know what you think is going to be the most beneficial for your kids. So when opportunities come up you have to look very carefully at that opportunity and weigh it up in terms of the potential benefits, weigh it up against the disruption to the routine or the loss of key learning time. So I was hoping that this project would have some benefits around, as I said earlier, around some of the social skills, but wasn’t really sure around the academic stuff. So I’m really glad that that ended up panning out like that. (Principal)

Utilising children’s natural love of The Arts to enhance their learning [Professor Anne Craft] ... came over from England and had a talk about creativity in education and it was – I think she encapsulated the feeling that we just really feel unless children are given some kind of creative outlet, that disengagement of a large amount of these kids is going to continue. Creativity is not just about paint and canvasses, it’s a whole range of thinking and exploring and I think until we get a grip within the curriculum that creativity can be in all areas, in maths, in English, that it’s not segregated, it’s a way of thinking and I think that’s what needs to – it’s that shift, we need that shift of thinking. (Teacher)

I really, I see the value in arts in education. Because through the work I’ve done in seeing young people having arts experiences I can see the benefits of that with the kids. I see them growing, I see them having confidence, I see them working better as teams, groups, instead of self centred. Also expanding about the world, seeing things in a different way from maybe the world that they live in as well. So I really do think that arts education is really important, in growing that sense. (Artist)

The kids definitely got in, they did art, they did hands on art. But they also did language, they also did science and there were a lot of other things that I didn’t really think would have happened that I saw happen. That was evidenced when the kids would bring their diaries up and show me each week. You could see in there how they were working together. You could see that they were learning to communicate and to work as a team, building those skills. But you could also see the writing skills and the science skills and that was really good. (Principal)

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Theme 3: The Artist Teacher PartnershipThe Artist Teacher partnership has been the subject of research as it plays a vital role in the success of Artist in residence projects. Artist in residence projects are generally accepted as professional development initiatives for Teachers (Catterall & Waldorf, 1999) but they also provide learning, growth, and development opportunities for Artists (Upitis, 2005). When Artists and Teachers work together they influence each other and shape each other’s experiences, teaching, and Artistic practices. Research has shown when there are strong working relationships/rapport mutual learning is increased and can lead to transformative experiences. When there is a lack of communication, discussion or respect for others’ expertise there are less successful outcomes

Characteristics of successful partnershipsDuring two professional development days held prior to implementation of the project in each school, a presentation about Teacher Artist partnerships and related research was given to highlight the importance of this aspect for enabling successful outcomes for all concerned. Characteristics of successful partnerships were identified as: understanding the needs of the other; clarity between partners; communication of goals and objectives for students; co-creation of lessons; willingness to engage in a forthright, ongoing dialogue and ongoing reflection on classroom interaction.

When surveyed about what their expectations of the partnership were and factors they believed were important to its success, all Artists and Teachers appeared to have high expectations of a collaborative learning partnership that would enrich their knowledge and experiences. All participants felt that communication was an important factor for success, and used terms such as ‘open’, ‘2 way,’ ‘listening’, ‘discussing’ and ‘regular feedback’ in relation to this factor. Several participants also noted that sharing and flexibility were important for successful partnerships.

Professional learning through the partnership - participant perceptions Data from evaluations completed by the participants and interviews conducted towards the end of the residencies enabled an analysis of the determining factors that impacted on the partnership from the perception of each participant group (Artists, Teachers and Principals). Communication, commitment, shared understanding of roles and needs of each member of the partnership, good planning, willingness to be flexible and put in extra time appear to be consistent themes for enabling the most effective partnerships..

ArtistsAs is evident from Graph 1 each of the Artists had a different experience of the Artist Teacher partnership ranging from ineffective to extremely effective. One Artist was enthusiastic in their praise of the Teacher, how they had welcomed her into the classroom and facilitated the project in a ‘supportive, open and flexible’ manner showing good understanding of

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Ineffective Fairly effective Effective Very

EffectiveExtremely Effective

Artist 1 1 1

Principal 1 2

Teacher 1 1

0

1

2

Resp

onse

Artist Teacher Partnership

Graph 1 : How participants rated the Artist Teacher partnership by group

the Artist’s role: ‘I’m always thinking, assessing and evaluating what’s going on. I’m lucky I’m very well supported by the Teacher who’s really, really fantastic. We work as a great team. She interjects if she feels she needs to explain something and it works really well.’ One of the Artists felt that much more could have been achieved from the partnership with greater commitment on the part of the Teacher: ‘I’m missing a real strong connection with [Teacher]. I think she’s awesome and we’ve been on a great process, but she’s also had a wedding, and so we’ve had a few hiccups in that way ... but just in terms of, just for, I guess a deeper dialogue. For me, I guess I’m a bit of a perfectionist as well, and want to be able to leave so much.’

Communication problems and lack of commitment were cited as being responsible for the least effective Artist Teacher partnership, with one of the Artists stating that ‘no partnership developed at all.’ The same Artist also noted that that ‘The Teacher Artist relationship was not very effective. It was almost like the Teacher couldn’t roll with the punches, wasn’t able to hand it over to anyone else.’ In order to foster future partnerships the Artists identified the following: clarity about the roles of the Artist and Teacher; good communication; debriefing sessions; prior understanding of an Artist’s practice; follow up between sessions to enhance the project and commitment and engagement by the Teacher and school as a whole to the project.

TeachersTwo of the Teachers felt the Artist Teacher partnership worked as a good collaboration where each was able to bring their expertise to the experience. Clear roles and good communication were cited as important for the effectiveness of the partnership. These Teachers felt that their experience matched or exceeded their expectations: ‘I learned lots of techniques from her and ideas and I think it was just the whole project and watching these kids blossom into fantastic Artists and seeing themselves. It really brought our class very close together. I think that’s what’s sort of lovely about it as well: that we had just such a lovely closeness and I think that was really nice, we have that sharing experience.’

In the case of the third partnership the Teacher cited miscommunication and differing pedagogies as being responsible for the low rating given for the effectiveness of the Artist Teacher partnership: ‘I look at something that the kids are doing and I think oh my goodness, no, that’s not right. Whereas my Artists thought it was great because it was so creative and it was this and it was that and I was like – from my perspective that’s just not great.’. To foster future partnerships Teachers recommended good planning and clear communication about time management, focus, requirements for student learning, integration with school curriculum, outcomes and assessment. One Teacher noted that having the Artist come to observe the class before the AiR, the Teacher’s interaction with the students and the types of behaviour management they utilise would also be beneficial.

PrincipalsTwo Principals found the Artist Teacher partnership to be effective. One commented that it was a collaborative partnership that enabled achievement of the final product, and the other noted the positive feedback from both Artist and Teacher and the mutually beneficial outcomes both felt from the AiR: ‘[Teacher] has always been passionate about the Arts. I think she really appreciated having someone with even more expertise in that [area] to learn from and to work, plan and teach with. I know each time I talked to her she was saying how incredibly happy she was with what the kids were achieving and how she continually spoke very highly of [Artist] and the way she worked with the kids and the ideas that she had. I think she was just very excited about basically the way [Artist] was operating and what she was offering to the kids.’

In contrast, one Principal was less enthusiastic about the partnership citing poor communication, the Teacher’s competing priorities and differing pedagogical approaches as major factors for giving a poor rating related to the effectiveness of the partnership: ‘It’s something I’ve come across before in AiR situations, where you have particularly a non-state school educator, as the Artist, coming in and meeting with a Teacher who has obviously systemic priorities that they have to meet and targets that they have to reach and also maintain the dynamic of the class and the social order and the behaviour and all of those other things’. To foster future partnerships Principals felt that it was important that Artists have an understanding of school operations and that there should be clear communication about goals, strategies, pedagogy and timelines for all participants. One Principal also commented on the need to have an understanding of, and ideally a rapport with students, and noted that their Artist had been a perfect example. A second Principal commented that all the things they considered to be important outcomes for the AiR were well achieved.

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Theme 4: Professional Development Gaining expertisePrior to commencement of the AiRs all Artists and Teachers involved in the project undertook two days of professional development conducted by PANI personnel. The scope of the project, expectations of those involved and factors that impacted on making the residencies as effective and successful as possible were discussed. Teachers and Artists described their professional practice and the context of each residency before undertaking collaborative planning, guided by curriculum requirements and presentations regarding embedding the residency within the Queensland Curriculum, Assessment and Reporting (QCAR) Framework with a particular focus on The Arts Essential Learnings. Teachers undertook a further three days professional development with the Queensland Studies Authority (QSA) where they were guided through the development of assessment tasks related to the residency for publishing to the QSA Assessment Bank.

On completion of the two days of the project induction, Teachers and Artists responded to a survey related to the quality of the professional development and dissemination of information about the project. Participants responded to 1-5 scaled questions regarding understanding they gained of

• the scope of the project,• what an AiR is,• the collaboration between arts, education, research

and community, and• the logistics of the project.

All participants gave a very good or excellent rating for each of these aspects (14 of a possible 24 responses gave an excellent rating). A final scaled question related to the Essential Learnings and Standards associated with the QCAR framework showed greater variation in responses with one participant (an Artist) giving a rating of 2 (fair). This would be expected of someone with little prior experience of the education system as would be the case for most Artists, although the other Artists gave higher ratings for this factor (Graph 2).

Other feedback regarding the the initial professional development provided by PANI was obtained from a final written evaluation of the project and interviews conducted during the project. How well participants felt the professional development induction prepared them for the project following its completion was rated on a five point scale from ‘needed more’ to ‘extremely well’ and is shown in Graph 3. Participants from the Drama and Visual Art AiRs gave consistent ratings (all gave a ‘very well’ rating), however, the ratings given by the participants from the Media AiR show significant variance (‘extremely well’ vs ‘needed more’).

Artists from two of the residencies felt that it would have been beneficial to have more time with their Teacher partner prior to commencing the residency so that there was enhanced understanding of their art form and practice to enable more productive use of their skills and knowledge in terms of embedding it within the curriculum: ‘I would have liked more time with [Teacher]. I think in hindsight I would have really liked to have taken her to the theatre, a couple of performances and hung out and ... critiqued [them] afterwards so we could have shared that language before we began [the residency].’ While Teachers felt that the two induction days prepared them very or extremely well for the project, one felt there should be more time to meet and talk about expectations and role requirements before the project began as differing expectations became points of contention between the Artist and Teacher: “... the problem with us was we all had a different focus. My focus was I wanted the kids to get the best experience, as well as improve literacy and numeracy areas and group skills...The Artists’ focus was they wanted the kids to make a great creative film.’

The QSA planning days provided Teachers with direction, perspective and understanding of how to assess their students’ achievements: ‘You’ve got to have the assessment tasks to go with it [the project] because then Teachers can just pick it up...I think with the QSA it’s so important to have those assessment tasks otherwise it’s just a bit more of an abstract idea than being able to get their hands on something that really happened.’ Teachers valued the expertise available at the QSA to assist with the assessment and moderation procedures related to the project: ‘...it was awesome because it’s enabled me to go, “I can integrate arts into my curriculum and be able to assess it confidently because I’ve done an assessment piece for that.”’

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0

1

2

3

4

5

6

Some Fair Good Very Good Excellent

Understanding gained from PD Days

Scope Collaboration AiR Logistics Essential Learnings

Needed more Fairly Well Well Very Well Extremely

Well

Drama AiR 2

Media AiR 1 1

Visual Art AiR 2

0

1

2

Resp

onse

s

Adequacy of PD Preparation

Graph 2: Level of understanding of various factors gained by participants following two days professional development and briefing.

Graph 3: Level at which participants felt the induction professional development prepared them for the project (Artists and Teachers only)

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Mutually beneficial professional development Through the opportunity to work closely together on the AiR project, Artists and Teachers were exposed to professional practice from each other’s perspectives. Teachers acknowledged that they took away ideas for changing their teaching practice, including embedding The Arts in other Key Learning Areas to enhance learning in areas such as literacy, numeracy and science. They also recognised how engaging students through The Arts enhanced social skills such as cooperative group work and conflict resolution. Artists gained greater understanding of the reality of working in schools and the pressures Teachers are placed under by the demands of assessing and reporting on student achievement. Importantly, Artist became aware of what to plan for if undertaking future projects: ‘I think it was a real eye-opener - I guess it’s just reinforced ... the difficulty of trying to get anything to do with the Arts into the system.’

Graph 4 provides an overview of Teacher perceptions around the professional development they experienced from participating in the project on 1 to 5 scales where 5 was the highest rating. Teachers were asked to evaluate how well the QSA writing workshops assisted their understanding of how to embed The Arts in other subject areas, how confident they felt to use the Arts to assist with other learning (learning through art), how well their understanding of the art form and associated curriculum had been enhanced, how well they felt prepared to teach that art form (learning in art) and how interesting they found the project. Generally Teachers reported that they had increased confidence to teach in the art form, had consolidated their understanding of The Arts curriculum, that evaluating The Arts is not based on ‘yes/no’ criteria and that creativity requires that both process and product be evaluated.

Creating connections An important part of the project was a series of Artist workshops that demonstrated the activities undertaken in each of the residencies. Resident Artists facilitated two workshops, one providing professional development to Teachers not engaged in the residency and another for parents and other members of the local community. The total number of participants at the three Teacher workshops was 46, and many responded to a feedback survey upon completion. When asked how they would describe the workshop to other Teachers, most responded with an excellent or very good rating (see Graph 5). They were also asked to rate their confidence for teaching in the art form, with all respondents gaining a greater level of confidence (Graph 6).

All of the Artists commented on the building of valuable professional relationships that informed their approach to undertaking such projects: ‘We talked to the other Artists after the workshops and it was very good to hear their feedback and advice for any future workshops we may do’; ‘It’s been really, really lovely to work with three other people that are very competent in The Arts… we’ve all worked really well. So there’s been a very positive, very high energy sort of feeling’; ‘I have met some wonderful people involved in/advocating for The Arts.’ The Teachers also found interacting with other professional agencies valuable, in particular the Queensland Studies Authority, which broadened their professional contacts in addition to engaging with the Artists and PANI.

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0

1

2

3

4

5

QSA Workshops Learning through Art

Arts curriculum knowledge

Learning in Art Project interest

Impact of Residency as PD

Drama AiR Media AiR Visual Art AiR

0

2

4

6

8

10

12

14

16

Not Slightly Confident Very Inspired

Nu

mb

er

Confidence Level

Confidence to Use in Classroom

0

2

4

6

8

10

12

14

16

18

20

Poor Fair Good Very Good Excellent

Num

ber

Rating

How Describe Workshop

Graph 5: Teacher ratings of Artist facilitated workshops

Graph 6: Teacher confidence levels for teaching the art form in their class following participation in the Artist workshops

Graph 4: Teacher perceptions of the professional development they experienced during the project

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Theme 5: Community Current Research around the attitudes towards The Arts indicates that the majority of Australians agree that there are associated individual, social and community benefits and that The Arts should be an important part of the education of every Australian (Arts Queensland and Department of Housing, 2005; Bamford, 2006; Wright, 2003).

Children have a central role as contributors and participants in building and accessing the cultural landscape of the community. By recognising their achievements through public events and performances, they become connected to their community. Acknowledging their importance in this positive way contributes to the well being and cohesiveness of communities.

The CCHAiR Pilot Project identified three key aspects within the theme of Community: Creating Connections; Raising Awareness and Support of the Value of the Arts in the Community and Celebrating the Arts in the Community.

Community connections The CCHAIR project included a community outreach element through Artist facilitated Parent and Teacher workshops. These workshops included both hands on experiences and informative presentations about the meaning and value of The Arts. These workshops served to raise awareness of how The Arts created connections for the children through arts activities which enhanced their learning. In this context explicit connections between learning and the experience were explained so that parents understood and valued learning in and through The Arts (McArdle, Brennan, McLean, et.al, 2005).

Survey data from the parent workshops indicated that participants found the workshops fun, relaxed and engaging with most rating them as ‘good’ or ‘very good’ (see Graph 7). Children and parents enjoyed experiencing the various disciplines of visual art, media and drama both individually and in combination. An important factor in motivation for attending the workshops appeared to be parents’ relationships with their child and interest in sharing what they were experiencing. Survey comments that support these finding and that demonstrate the what participants felt they learnt about the Arts in education during the Artist workshops follow:

I am here because I want to be involved with what my daughter is involved in. I describe her as my “Drama Queen”. (Parent)

I think the Arts have shown my child anything is possible. (Parent)

Drama builds confidence. (Parent)

Animation is not easy, but great for team work and communication and social skills. (Parent)

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Raising awareness and support of the value of The Arts in the communityArtists are significant contributors to communities, and it is through direct contact with the Artist that the wider community gain insight about who they are, what they do and how Artists contribute in a unique way to the education of children and young people. Connections to, developing understanding of, and recognising and celebrating Artists in our community contributes to building positive values and beliefs about The Arts. Data collected through the surveys conducted at parent/guardian workshops and audience surveys at the Showcase Event support the notion of communities are enriched. Graph 8 shows the percentage of surveyed Showcase audience that perceived the importance of various aspects of the CCHAiR Project as “very” or “extremely important”. This data indicates that there is a strong belief in the importance of the Arts in education within the community.

Artists were also able to identify the significance of their contribution in raising awareness and support for The Arts through their work.

This is an awesome project worthy of expansion into other schools. It encourages engagement, participation, and difference in learning, development for young people, Teachers and the surrounding community. Learning happens whilst having fun and being challenged. (Artist)

I see them growing, I see them having confidence, I see them working better as teams, groups, instead of being self centred. Also expanding about the world, seeing things in a different way from maybe the world that they live in as well. So I really do think that Arts Education is really important, in growing that sense. (Artist)

Celebrating The Arts in the communityThe CCHAiR project’s culminating Showcase Event acknowledged and recognised the contributions and achievements of young Artists. In turn the audience was enriched through viewing and experiencing the artworks. It is through arts practice that the community is strengthened, builds identity and is proud and excited by the possibilities of how the Arts can contribute to its future.

Thirty percent of the audience that attended the Showcase Event were from the wider community, and not directly connected to the project. The majority of the surveyed audience members indicated that they felt inspired in response to the Artistic output exhibited at the Showcase Event See Graph 9).

The effect of the Showcase Event is eloquently captured in the following quote:

I saw children from different schools enthusiastically engaged in showing and talking about the work that they had undertaken. I witnessed a positive gathering of family and friends of the children and the wider community. There was a tangible, energetic hum in the air. I saw end products which evidenced the depth of learning and the richness of experiences that had been had by the children. I also observed the pride that the Artists and Teachers took in the work the children had done. I spoke to different people (Artists, Teachers, researchers, children) about their work/involvement in the project and all of them spoke enthusiastically about their experiences. The Showcase evening was my first contact with the CCHAiR Pilot Project and as such I felt it was an incredibly positive and joyful celebration of the creative work of everyone involved. (Audience member, Showcase Event)

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05

1015202530354045

Inspired Transformed Challenged Reflective

Num

ber

Felt...

Audience Response to Showcase n=62

26 31 27 31 23

74 65 73 60 73

0102030405060708090

100

Exhibiting children's artwork

Working with Artists

Access to Arts rich

education

Arts to other

learning

Arts to children's well being

Perc

enta

ge

Importance of...

Extremely important

Very important

Graph 9: Surveyed audience responses to Showcase Event

Graph 8: Showcase audience views about importance of various factors related to Arts education

0

1

2

3

4

5

Poor Fair Good Very Good Excellent

Num

ber

Rating

How Describe Workshop (n=10)

Graph 7: Parent and community member ratings of Artist facilitated workshops

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Case Study:Visual Art Residency Student

One boy [Tony*] he just cannot concentrate and I thought this is going to be a real challenge ... because he was just like a mess, a scribbler. ... you couldn’t get him to sit down at a desk and do

anything ... there were diaries in the afternoon but he is slow but he would spend a lot of time and he hadn’t finished when the bell had gone. I said “Oh”, and he just burst into tears and said “I have to finish my diary”. He was so avoidance, before

he’d just avoid it like, you know, and to have that like we [Artist] just looked at each other and it was just one of those moments.

I said “First thing tomorrow morning as soon as you get here we’ll get straight into it and you can finish it then.” And he did. He came straight in and remembered it and we’ve had great detail of colour and he did a bird that was beautiful and used outside warm colours, complementary colours. He did it, it’s a

fantastic job.

At the beginning of the year you would never think that in six months’ time he’d be doing something like that, never. I was really quite amazed with him because his book work and his hand work – his handwriting was completely illegible, you

just couldn’t – because he just wouldn’t do it, he would write like one letter and that’d be it and now he’s had a real turn

around ... yes, he’s writing and he’s doing his letters, like just in handwriting ... Yes, like he’s got no fear of it now you know. I

got him a little pencil case and he has all his pencils in there and its Tony’s pencil case and he can sit out and he’s all organised and has everything on his desk and his little rubber. Before it

would be on the floor or in his pocket or around his back ... but he was writing in his diary which is just – and you could read it,

it was just amazing.

Following analysis of interviews with the Teacher, Artist and Principal of the visual arts residency it became clear that each person saw it as being extremely successful. The rapport between the Artist and Teacher was often commented on as was the way the residency seamlessly integrated other curriculum areas. Although a number of children were mentioned in the interviews it became apparent that one boy in particular had progressed remarkably in his social ability as a result of the residency. The Teacher noted the focus on creative learning contributed to this result: ‘I had some of the students in this class last year. A lot of them were creative or some with high needs that I knew that through creative learning that they would expand and benefit.’ The following quote illustrates the difference in ‘Tony’s’* behaviour before, during and after the residency:

Tony’s Artwork towards end of residency

Tony’s handwriting towards end of residency*Pseudonym

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The Artist revealed during her interview that initially the Teacher would type up the children’s reflections which they dictated to her, then she would print and cut them out and glue them into the children’s books. As the residency progressed however she noted that ‘Tony’ would become quite upset if he was unable to finish writing in his journal: Now they’re all writing in their journals. Now there are tears if they don’t get to finish writing in their journal ... It’s an art project but they definitely love these journals and writing all about it. It’s fantastic, they’ve blossomed. She also noted that in terms of social interaction Tony was not considered to be in the ‘popular’ group at the start of the year, however ‘during the course of the project you could see this attitude dropping away ... there’s a lot of cooperation going on. A lot of interaction ... its lovely when they interact with each other, critiquing each other’s work, making favourable comments “That’s nice. I like your background colour.”’

The Teacher also revealed that Tony is the youngest of a very large family and consequently at times can be ‘forgotten’, however receiving praise for his artwork and feeling empowered through the learning of skills and techniques has resulted in increased self-esteem and confidence for many of the children, but particularly for Tony: I think it’s all about success and self esteem. If children haven’t seen a lot in their life of success in what they do, whether it’s at home or at school, they tend to be on the back foot as it is and they don’t get a lot of encouragement or praise and just to see their faces when they show [Artist] something they’ve done or myself [Teacher] it was just, it was amazing. How they would talk about themselves and hold themselves up high and straight and talk confidently.

The Principal also mentioned the positive effects he had observed of Tony’s behaviour when discussing a group of children who found learning difficult: ‘There are a couple of them [behaviourally challenged students] in that class. Whenever I went down there they were busy doing what they were supposed to be doing ... We’ve got one little fella in there whose in a lot of trouble. He’s got ASD, so he finds it very difficult to follow instructions and sit and work and communicate with other kids. There are quite a few difficulties there. Whenever I went down there to see what he was up to, he was busy, he was working. He was on task and I think something like that for him would have been really beneficial working with the other kids ...’ He also revealed that ‘... apparently all the parents are going to the culminating event next week of the kids in that class, so that’s really good support.’

This change in behaviour and attitude is also evident when a comparison of Semester 1 and Semester 2 results are taken specifically in relation to the area of effort. As can be seen below Tony improved his result for Effort in English (1 grade); Mathematics (2 grades); Science (1 grade); Health and Physical Education (1 grade); and the Arts (2 grades). In relation to achievement there is also progress in 1 grade for Mathematics, Science, The Arts and Technology, with SOSE and HPE staying the same. However, overall the results in both effort and achievement are significantly improved.

Key Learning Areas Sem 1 Achievement

Sem 1 Effort

Sem 2 Achievement

Sem 2 Effort

Change in Achievement

Change in Effort

English D D E C -1 +1 Mathematics E E D C +1 +2

Science C C B D +1 +1 SOSE D D D D 0 0

Health and Physical Education

B C B B 0 +1

The Arts D D C B +1 +2 Technology D C C C +1 0

Lote NA NA NA NA NA NA

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Key Features of the ProjectKey features of the CCHAiR project are its innovation, sustainability, transportability and inclusivity.

Innovation• Collaborative planning to alkign the practices of Artists with the

Teachers’ understandings and knowledge of the student outcomes in the Arts

• The bringing together of different groups of professionals including Artists, Teachers, PANI and researchers

• Primary school students worked with Artists who facilitated the creation of quality works for exhibition and performance at a whole community event

• This approach immersed Teachers and students in authentic Artistic experiences that impacted on learning in other areas.

Sustainability• 46 Teachers attended Artist-led professional development

workshops

• 71 primary students participated in the three residencies.

Transferability• The transference of knowledge, skills and practice from Artist to

Teacher has built the capacity of Teachers to share new expertise with colleagues and networks

• The project model is transferable and can be adapted to Artist-in-residencies for all strands of The Arts.

Inclusivity• Students from diverse cultural, social and economic backgrounds

participated in the program

• Students with a diverse range of abilities participated in the program.

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Acknowledgements

Primary Arts Network IpswichCoordinator Lee FullARTonPANI Regional Committee: Cheryl Charlton, Susanne Kelly

University of Southern Queensland, SpringfieldDr. Margaret Baguley

Griffith UniversityMiranda Free

Education Queensland Principals, Teachers and Students form selected State Schools of Moreton Region (2010 Metropolitan Region)

Queensland Studies Authority Sue Fox

ArtistsEmma Che MartinSara ButcherMiles Blow and Jules Pitts

ImagesAll images supplied by Lee FullARTon and Sue Hammond

Insert DVD … living the arts in Ipswich…

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