Tonight At Morning Break

 

Each Christmas All Change Please! attempts to write a post under the influence of a well-known literary work, such as last year’s Theresa in Wonderland, and before that George Osborne’s Twenty Fifty One, and of course not forgetting The Gove of Christmas Present.

This year’s inspiration is Tonight at Noon, written by the Liverpool poet Adrian Henri, and published in the 1967 ‘The Mersey Sound’ Penguin Modern Poets series. The title is itself taken from a 1964 album and track by Charles Mingus.

The basis of Henri’s poem is that each line presents a contradiction through a reversal of the truth, eg… “Elephants will tell each other human jokes” and, rather topically, “Politicians are elected to insane asylums”. But the final lines reveal his real intention – to express his hope that an equally unlikely event will occur: “You will tell me that you love me”. The full poem can be read here.

And now, All Change Please! is proud to present its own updated educational version…

Tonight at morning break

Tonight at morning break
Teachers will award politicians a 3% pay-cut
Tonight at morning break
Independent schools announce they will now only accept children who are eligible for free school meals
School children will hold Ofsted inspectors to account
Free schools will be charged under the Trades Descriptions act for not allowing children to be free to choose what and when they want to learn
Children will meet teachers and parents on cold winter evenings to discuss their progress as adults
And a portrait of Michael Gove will be hung upside down in the entrance to every school

Tonight at morning break
Children will shout at teachers to ‘sit down and be quiet!’ so that they can concentrate on learning from their smart phones and tablets
Teachers will stop marking exercise books with different coloured biros and start painting pictures in them instead
Every student in the country will achieve above-average GCSE results
Children will stop having to write in art, and start dancing their answers to maths problems
Students will learn that there is more to life than facts
And politicians will accept that educational research evidence is highly unreliable

Flipped lessons are taking place as children start teaching their teachers
Children are uniformly forced to wear their own choice of clothing to school
Teachers are teaching children instead of subjects
Students who fail all their GCSEs are found to be more employable than academics
School lunches are ranked against other countries according to their PIZZA scores
STEM is turning into STEAM
Russell Group universities are only accepting students named Russell
Nick Gibb is announcing his intention to resign as Secretary of State in order to join the BeeGees

              and
You will tell me that you love this post and share it widely on social media over Christmas
Tonight at morning break.

 

With thanks to the late Adrian Henri, and Alan and Duncan for a little help!

Art Failure at the MichaelGova School

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All Change Please! was interested to see that The Michaela ‘KNOWLEDGE IS POWER’ Community School was recently advertising for a new post in its Art Department: http://mcsbrent.co.uk/art-teacher-vacancy

Apparently:

“At KS3, pupils are taught the traditional techniques of drawing and painting and Art history. Lessons are ‘teacher-led’ as we believe it is the only way pupils can learn the appropriate skills to an expert level. Teachers show pupils exactly how to use each media in-depth step-by-step using the visualizer. There is no ‘guess work’ at Michaela. Pupils get to practice using the same media over and over again until the technique is mastered and perfected.”

“If you love art and know how to teach drawing, come and visit us at Michaela.  If you are in two minds, it is worth seeing what can be achieved in art when using our teaching methods.”

And it also states:

“We don’t offer lessons in ICT, DT..”

A full account of the Michaela guide to Mastery in Art and Music education can be found here.

But by yet another All Change Please! (Patent Applied For) Amazing Coincidence it seems that the nearby, and entirely fictitious, MichaelGova Community School is also recruiting further teaching staff for its Art Department. Somehow All Change Please! has exclusively managed to obtain a draft of the forthcoming press advertisement:

“At The MichaelGova ‘ABSOLUTE POWER CORRUPTS’ Community School, Art is about painting nice pictures over and over again until they look just like the work of great artists. We know everything about Art, but we don’t know what we like. An unkind visitor once upset some of our children by telling them that Art was about creating challenging new disruptive ideas, taking risks and being spontaneous and expressing oneself. He then spouted some mumbo-jumbo, snake-oil, neuromyth-nonsense that Art involved exploration, improvisation and messy experimentation in situations where there are no correct answers and that guessing and being intuitive were important in the real world. We asked him to leave the building immediately and never darken our doors again.

Pupils who in any way question what or how they are told to draw or paint are immediately isolated from other children and sent for a series of lunchtime re-progamming sessions in the Visualiser.

Meanwhile we take pride in refusing to teach our pupils anything about technology or problem-solving, knowing that they will be completely unprepared for life in the real, modern world. But as they will all become Oxbridge graduates unsuitable for any type of employment except for being a politician or a teacher in schools like ours, that won’t matter at all.

If you are in two minds about MichaelGova, please don’t apply. We only employ single-minded teachers.”

 

Fun-filled gender-fluid self-curated personas at the Df-ingE

In yet another of those remarkable coincidences that somehow seem to define All Change Please!’s very existence, at the same time as the BBC is broadcasting a new series of W1A, All Change Please! has received a transcript of a recent Team Df-ingE! meeting.

Justine Greening invited Siobhan Sharpe of ‘Perfect Curve’ – now incorporated into a Dutch conglomeration known as ‘Fun Media’ – back in to talk to the team. New and regular readers might like to remind themselves of what happened last time this happened

Justine Greening (AKA Mss Piggy): “Well hello everyone and thanks for attending this meeting in the new Nicky Morgove Office Suite. In our last ‘Going Backwards to Move Forwards’ session you’ll remember that we discussed the idea of using teachers as Trained Trainers in our schools, reading from pre-written scripts, and all agreed it would save a great deal of money, even if it was a bit daft. Today we’re fortunate to welcome back Siobhan Sharpe who is going to present Fun Media’s visionary Futurability review of the future of our schools.”

Nick Glibb: “Can I just point out…

JG: “No, you can’t Nick

NG: “It’s just that…

JG: “Look I know you’re male and all the problems that involves, but how many more times do I have to remind you that I’m in charge here? Over to you Siobhan – I have to say your name is a lot easier to pronounce than it is to remember how its spelt, isn’t it?

Siobhan Sharpe: “Thanks Justine. Long live the Sisterhood! Hi everyone! So like the big news is that teachers are so over. Nobody wants teachers anymore.”

Ensemble:Yes, very strong.”

Ens: “I’m totally good with that.”

Ens: “Way cool. That’s mental.”

JG: “I’m sorry you’ll need to run that over me again.

SS:  “Ten years. That’s all teachers have got. Then they’ll be gone. Extinct. Fossilised. Like, ancient relics of a bygone age. Do-dos. Get over it and move on.”

JG: “Says who?

SS: “Well, duh, Sir Antony Seldon for a start. Like the former head of Eton. You know – where the posh boys and future PMs go. He’s just written a book about it: The Fourth Education Revolution: how Artificial Intelligence is Changing the Face of Learning, and that’s what he predicts. No more teachers. Just computers. And kids sitting at rows of PC screens doing easy assessable multiple-choice questions. This is the 21st Century – the Information Age, in case you hadn’t noticed: Pearsonalised Learning, Artificial Inattention. Machine Leering. Fragmented Reality.”

JG: “But computers are nowhere near clever enough yet to be as good as a real teacher. I mean it’s not like we’re exactly talking HAL and ‘2001′ yet are we? This Artificial Intelligence stuff isn’t really as bright as it’s made out to be is it – at least not if the ‘Recommended for you’ emails I keep getting are anything to go by? It’s not exactly on the same level as a conscious, sentient being yet. Mind you, I suppose that goes for some of our current teachers too. 

Anyway there’s a lot more to learning than just answering questions that test your knowledge, which you know can be a bit de-motivating if you’re not very good at remembering things.  Surely learning is about providing young people with the capabilities to develop their dreams and aspirations, and exploring and experimenting with others to make them happen? The problem is that these current computer systems decide what children need to know and are designed to adapt them to fit a simplistic, elitist, academic view of the world as a random predetermined set of right answers. 

And let’s face it we’ve heard all this before – educationalists have been going on about it since the 1980s – but the problem is that the content is all written by New Media company programmers who don’t know the first thing about pedagogy. Anyone remember ‘Success Maker’? That wasn’t exactly much of a success was it?”

SS:  “Yeah. Right. You still don’t get it do you? Let me spell it out for you as easily as I can. Six words. Watch my lips: Teachers Expensive. Computers Cheap. Profits Greater. There, is that simple enough for you? Deal with it. Wake up and smell the Pumpkin Spice Latte for heaven’s sake.”

Ens: “Ah yes, no, good. Very good.”

Ens: “I so love it”

JG: “OK. So what else is there to look forward to in the future?

SS: “Well there’s all these stressful tests and solitary confinement examinations we keep making children take. I mean there are some serious mental health, mindlessness, human-rights issues here that need addressing. And everyone’s had enough of experts, and particularly educational experts, so anyway, no problem, because exams are finished too. We’ve done a re-branding exercise and have come up with a completely new concept in which the kids set and assess their own exams – it’s called ‘GCSE Me!‘. And of course as children learn most from each other, they will create and share their own user-generated on-line content resources too, which let’s face it, couldn’t be much worse than the current textbooks they currently get.

Ens: “Brilliant. No brainer…

Ens: “This is all going terribly well.”

JG: “I rather think Michael Gove would be turning in his grave if he were here now, although of course unfortunately he’s not actually in one yet.”

NG: “What I want to know is are the strict school uniform policies here to stay?

SS: “Hello? Have you heard from your brain lately? Or are you from a different planet or a Whovian time-warp or something? The school uniformity of the future is one that is always changing, different, divergent, inconsistent and varied. Our market research shows that Generation Z...”

NG: “Generation what?

SS: “Generation Z – children who are roughly between 12 and 19 – you know, duh, the ones currently in our secondary schools and colleges of FE that it’s your job to reach out to and engage. Gen Zs, as we call them – are a sophisticated self-confident creative force. Unlike their teachers and examiners they’ve moved on from the last century having been weaned on the internet, mobile phones and social media. They’re entrepreneurs and influencers, creating their own culture. They’re into dubbing soundscapes and performing word poetry and communicating using gifs and emojis. They’re defining themselves as their own brands. They see themselves as a gender-fluid generation in which there are no rules, no uniform, just their own self-curated persona.”

Ens: “Yeah, no worries, yeah, cool. Say again?

JG: “But hold on, you can’t exactly just go out and buy an affordable gender-fluid curated persona at Asda, can you? Anyway, let me get this straight. What you’re saying is that instead of rigidly imposing our own out-dated interests, aspirations and values on today’s children, what we should actually be doing is taking into account the way they see the world, and change our schools, the curriculum and the way we deliver it accordingly?

NG: “Well, I’ll tell you one thing for sure about the future. That’s never going to happen.

JG: “So that’s all good then…

Narrator: “And so we leave the Df-ingE in deep, earnest, concerned discussion, digging themselves further and further into a hole of their own making about the future issues that will one day face a completely different future team of ministers and parliamentary secretaries, long after they hope they have all personally in person moved on to better jobs in journalism and the City.

One thing looks certain though. Siobhan Sharpe’s future vision for fun-filled, gender-fluid, self-curated personas for our schools of the future doesn’t look like it’s going to be much fun trying to implement.

Problem still unsolved

19295893399_3ee40fd48c_o.jpgProblem-solving: the process of finding solutions to difficult or complex issues

The recent news that ‘Just 3 per cent of teenagers believe problem solving skills and creativity are essential attributes to have on their CVs’ is of course no more than a reflection of the lack of emphasis and importance placed on them in our education system. And it goes a long way to explaining why so few politicians and administrators seem quite unable to develop policies and procedures that manage to improve the life of the population. Too many students undertake academic degrees, including subjects like science and engineering, having had next to no experience of the processes and approaches involved in coming up with successful new practical and appropriate ways of doing things.

Where children are exposed to problem-solving and creativity in schools, the experience is usually limited to solving closed problems, where there is a single correct right or wrong answer. Such problems are usually technical in nature, rarely focusing on solving individual or social human problems.

Even in design and technology, where a rapidly diminishing number of students are asked to solve design problems, the understanding of problem-solving skills is given disproportionate emphasis to increasingly acquiring knowledge about materials and production technologies. Few children rise to the challenge of resolving multiple conflicting requirements and coming up with truly creative solutions. And while there is good imaginative work in evidence in many departments of art, drama and music, its value and application is restricted to those lessons and defined studio spaces.

Developing students’ problem-solving and creative abilities is not achieved through a series of disparate activities experienced largely out of context. It involves an extended course of study in which increasingly complex, open-ended and challenging problems are tackled in such a way that the learner starts to identify their own strategies and preferred methodologies for tackling different sorts of problems. This includes being able to deal with problems that require:

• a mixture of creative and logical thinking

• dealing with subjective and objective criteria

• testing and evaluating possible solutions using a variety of modelling techniques

• identifying and understanding human needs and desires

• information finding

• planning over multiple time-scales, collaboration and self-management

• effective communication.

Underlying these skills at a more basic level, successful problem-solving requires a desire to improve the way things are, a sense of curiosity, the drive to explore and develop a multiplicity of possible solutions and willingness to learn from failure.

Until our children start to acquire these skills and they come to be acknowledged in schools and universities as being valuable in life and the workplace it is difficult to be optimistic about our future. We no longer require a steady flow of people to administer and oversee the far-flung corners of our long-lost Empire, but instead a stream of creative problem-solvers to construct our brave new post-Brexit world.

 

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Image credits: Flickr Sacha Chua

 

 

 

 

 

Open-ended Complex Policy Solving

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“Mr Glibbly: Please just get rid of this stupid, unworkable EBacc policy – we don’t want anything in exchange for it”

You may, or may well have not, noticed that All Change Please! has been strangely quiet recently. That’s mainly because there has been Very Little Change Please! about in terms of education over the past few months, and also, as several commentators have noticed, the world of politics is now far more self-satirical than your actual satire can ever be.

Anyway, All Change Please! has recently been thinking about all these proposed Governmental Policies that have recently issued forth and then been sent back in again because they weren’t working or indeed wanted, and started wondering who actually writes them and whether they have the faintest idea what they are actually proposing?

In most organisations, institutions and businesses, everything starts and ends with policy. A policy is a positive principle to guide decisions and achieve required outcomes. Policies tend to be determined by those ‘at the top’, to be put into practice by Senior Managers and passed down through middle managers to the worker-ants below. Policy determines what should and shouldn’t be done, what is and isn’t acceptable, and most importantly, if funding will be provided for it. If something contradicts policy, it just can’t be done – it’s as simple as that. Policy says No! This often makes innovation within management structures difficult, because any significant change is likely to involve reviewing and rewriting policy.

Good policy statements are crucial to success, and it would therefore seem to make sense to invest time, resources and expertise into ensuring they are going to be effective, appropriate, and above all, deliverable. Yet in practice, that’s rarely what happens. Most policy statements, while perhaps laudable in their intent, are prepared with little reference to the practicalities of their implementation or the effect they might have. They are often written by academics, administrators and civil servants with little experience of reality or how to actually set about successfully solving complex, open-ended problems. Too many high-flying academic students leave school and Russell Group Universities for senior positions in management or politics with next-to-no understanding or experience of real-world problem-solving and communication.

Indeed the policy-writing process seems to be: identify the problem, consider options, make decisions, publish and implement. This bears a certain resemblance to what is known more widely as the problem-solving process – but with one major difference, in that there is no attempt to model, test, evaluate and iterate possible solutions before and while they are being implemented. Further difficulties often occur when a policy is then briefed and specified because those charged with doing so are insufficiently trained or experienced in defining and effectively communicating the parameters of what can and can’t be done to achieve the desired outcome.

Here’s an insider account account of the policy writing process: The Mysteries of Government Policy. To summarise the author’s account of the way it works:

1. Ignore all past documents on the subject to give yourself a fresh perspective.

2. To upset stakeholders, send the draft out for comment but delay consultation until after the draft has been finalised and too late to change.

3. To ensure it is already out-dated, delay publication by taking as long as possible to respond to comments to the consultation in full.

4. Maximise publicity for the policy release, but try to ensure no-one knows it was written by you.

5. Sit back and watch as people discover that the policy is almost impossible to implement and creates more problems than before it was decided that a new policy was needed.

Meanwhile back in school, let’s take the familiar example of a Behaviour Policy. Often carefully and clearly worded by the SMT it’s published in the handbook and staff and students are expected to abide by it. Except of course in many cases they don’t. That’s because in the reality of the classroom, corridor and playground it’s not as simple as that. To be successful, a good policy needs to be supported on a daily basis by SMT who will need to spend time evaluating how well it is working and what the problems are, and then developing and continually evolving the policy as circumstances change. There also needs to be opportunity for staff and student participation in the process. It may well be that both staff and students need assistance or training in understanding how to apply the policy and how it only works if everyone follows it. If only creating Government Policy worked this way…

Similarly, a manufacturing company would never proceed to invest in the production of a million or so newly designed widgets unless it was absolutely sure they worked properly, that there was a popular market for them, that they could be effectively distributed, and made and sold profitably. And future models would be continually updated to increase sales or encourage repeat purchases. But for some reason this rational approach just doesn’t seem to apply to Government Policy-making.

And here’s OFSTED’s Amanda Spielman announcing that perhaps their policies over the past 25 years have not been successful as they should have been, and in future a bit more participation with teachers and researchers might just be a good idea.  But as Michelle Hanson points out, the damage has already been well and truly done.

Until a way is found to improve the way the Df-ingE formulates future government policy through stakeholder participation, extensive trials, rigorous evaluation and a commitment to support long-term support and review, desirable change in what goes on in our schools is unlikely to happen. And in the meanwhile it seems crazy that at present there is no structured or coordinated programme of teaching and learning problem-identification and problem-solving for all children in our schools. A little bit of creativity wouldn’t go amiss either. But of course that can’t happen until it becomes policy…

 

Image credit: Flickr/Policy Exchange

Pass Notes: What is GCSE Irritative Design?

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Up, down, in, out and all around the country, Design & Technology teachers are attending training meetings and busily checking out the new GCSE specifications for their subject, due to commence in September 2017. The new requirements expect students to follow what’s known as an ‘iterative’ design process. Here’s All Change Please!’s handy cut-out and weep guide…

So what’s with this new requirement for GCSE D&T students to follow an irritative design process?

I think you’ll find it’s called an ‘iterative’ design process.

It may be iterative to you but it’s irritating to me. What was wrong with doing things the way we always did in the past – I thought the Tories were trying to take us back to the 1950s?

So do you want to know what it is or not?

I suppose I better. Go on then.

Ah, well, I was afraid you might say that, because actually no-one really seems clear as to what it means. It might, or might not, prove helpful to see exactly how the various AO’s (Awarding Organisations, previously known as Awarding Bodies, previously known as Examination Boards) are explaining ‘the iterative design process of exploring, creating and evaluating in their recent D&T GCSE specifications..

For example, one awarding organisation describes interrelated iterative processes that ‘explore’ needs, ‘create’ solutions and ‘evaluate’ how well the needs have been met.’ These ‘occur repeatedly as iterations throughout any process of designing prototyped solutionsand that this ensuresconstantly evolving iterations that build clearer needs and better solutions for a concept’.

Meanwhile another requires students to ‘Use an iterative approach – employ a process of planning, experimenting, designing, modelling, testing and reviewing, including use of input from client/end user to inform decision making, make improvements and refine designs at each stage of development.’

And the assessment criteria for a third lists: ‘Investigating, Designing, Making, Analysing and Evaluating‘, while adding: ‘In the spirit of the iterative design process, the above should be awarded holistically where they take place and not in a linear manner.’ It continues ‘…so that students can engage in an iterative process of designing, making, testing, improving and evaluating.’

I’m still feeling somewhat irritated and even more confused now. I think I’m certainly going to need quite a lot of that spirit to cope with this…

Elsewhere Iterative Design has been described as ‘a continuous process of to-ing and fro-ing between cognitive and physical models that move from a hazy notion of a solution towards a working prototype’.

Well, no problem there then – my kids are always going to-ing the stockroom and fro-ing bits of wood around. And they certainly only have a very hazy notion of what they are supposed to be doing.

To be fair, the awarding organisations will be providing teacher support materials that will aim to make the whole thing clearer.

But surely investigating, designing and making are exactly what my students were doing before? And anyway most of the investigating needs to be done at the start of the project, then the designing takes places and finally they make a prototype and evaluate it. So what’s the big change then?

Well… err… students need to be encouraged to continue investigating while they are designing and making, and to be evaluating their own work and the work of others throughout. The activities of exploring, creating and evaluating are all closely linked. It’s difficult to do one without the other. Exploring a situation involves evaluating the quantity and quality of information discovered and leads to new ideas for further enquiries and research methodologies. Generating design ideas involves deciding which to pursue or reject and identifying further information that will be needed. Evaluating designs involves referring back to the identified requirements and coming up with new ideas or refinements in response to unresolved problems. Of course this makes separating them out for purposes of examination assessment of exploring, creating and evaluating next to impossible.

So, what you seem to be saying is, actually it doesn’t really change anything much at all, except it’s going to make assessment a lot more difficult?

Err, yes. Irritating, isn’t it?

That Jony Ive bloke keeps talking about iterative design doesn’t he? I thought he meant that each new iPhone model is a development of the previous one – some features stay the same, others are removed and new ones are added. But that’s just design, isn’t it? Surely all design is iterative by nature?

Yes, I think you may be on to something there. I know, let’s see what Wikipedia has to say:

‘Iterative design is a design methodology based on a cyclic process of prototyping, testing, analyzing, and refining a product or process.’

Ah, so we’re back to the good old Design Cycle then?

No, No, this is quite different… At least I think it is. Wikipedia goes on to say something very interesting:  ‘Iterative design is a way of confronting the reality of unpredictable user needs and behaviors that can lead to sweeping and fundamental changes in a design.’

In other words it’s not just enough to make a final prototype to test out with a potential user and other stakeholders – what’s important are the refinements that are made as a result of the testing of a series of models.

What’s all this about holding steaks? I thought Food wasn’t part of D&T any more?

That’s stakeholders – other people who might have a interest in the design – other users or maybe managers or retailers or clients.

Wikipedia continues:

‘There is a parallel between iterative and the theory of Natural Selection. Both involve a trial and error process in which the most suitable design advances to the next generation, while less suitable designs perish by the wayside. Subsequent versions of a product should also get progressively better as its producers learn what works and what doesn’t in a process of refinement and continuous improvement.’

So design iteration involves coming up with and developing more than just one idea and a single development of it. If a student only came up with one solution and made that without being willing to consider changing and improving it – so-called ‘design fixation’- then it wouldn’t be iterative.

Ah! As well as the continuous interaction between exploring, creating and evaluating, iterative design also means continuous improvement? How clear and easy do the awarding bodies make that to identify in their mark schemes? Or do I just continue to naturally select which portfolios I think are the best ones?

Probably. But between you and me, the secret is that iterative design is essentially a mind-set in which students are encouraged to be continually dis-satisfied and always exploring new information and creating new ideas, and always evaluating what they are doing – from an early quick sketch to making a final presentation model – and even what they would change if they had more time. It’s the sense that a sense that a design is never really perfect of finished, and can always be improved.

So that’s Iterative Design then? Just go through it again for me will you and see if you can improve your explanation a bit more?

You mean you’d like me to reiterate what I’ve just said?

Now you’re talking…

Do say: When will the next iteration of the D&T GCSE be written?

Don’t say: I blame Sir James Dyson

Image adapted from: Flickr/Dave Gray and Fotolia

 

7-Up + 300

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“Give me a child until he is seven and I will give you the man”

It’s astonishing to think that back in the Autumn of 2009 – around the time that All Change Please!’s first post was published – a child starting secondary school in Year 7 will now have completed their A levels and be either commencing a degree course – or of course, more like All Change Please!, becoming another Not in Employment, Education or Training statistic.

Yes, it’s exactly seven years since All Change Please! published its very first post, and as usual it decides to nostalgically wallow in its archives from the past twelve months to visit some of its most read and best loved words of so-called wisdom.

But before it does so, there is another cause for celebration, because by delightful coincidence this is also All Change Please!’s 300th post.

This year’s Top 3 most read posts were:

1. Pass Notes: Art Attack! 

In which it is revealed that both less and fewer pupils are now taking GCSE subjects in The Arts, despite Nick Glibb claiming otherwise before being finally proved wrong by the 2016 entry figures.

2. Little Miss Morgan

In which it is suggested that Nicky Morgan didn’t really care what she was saying at the NASUWT Party Conference because she knew she’s be in a proper cabinet job by September, except that now we know it didn’t work out quite like that.

3. No Minister! No, No, No.

In which a passionate appeal is made by means of the Df-ingE consultation for it to abandon its intentions that 90% of pupils should take the EBacc to GCSE, even though the results of the consultation have never been made public.

Meanwhile All Change Please!‘s personal favourite Top 3 were:

1. Curriculum Noir 3 

In which Wilshaw asks Marlowe for help after he realises he’s made an enormous mistake backing the EBacc, despite the fact that there’s not a shred of evidence to back up the Df-ingE’s ideology.

2. What a Wonderful World

In which we learn all about the brave new world of Fantasy Politics in which politicians make up any old stuff that comes to mind – something that All Change Please! has been successfully getting away with for years.

3. Twenty Fifty One

In which we revisit George Orwell’s classic story 1984, and realise it’s just that we haven’t got there yet – despite the fact that we’ve since taken back control and given it all to just one person who thinks she can run the country on her own. Big Sister Is Watching You…

“Give me a blog until it is seven and I will give you the Pulitzer Prize for Journalism (or not)”

Let’s try a different kind of 7up instead…

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 7up image credit: Flickr/Kevin Dooley

Pass Notes: A History of Art Attacks

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L.H.O.O.Q.,  Marcel Duchamp (1919)

What? Look, someone has attacked a work of art – they’ve drawn a moustache and beard on the Mona Lisa. Quick! Call Security…

Calm down dear! It’s only a postcard. That’s one of the artist Duchamp’s found object  ‘readymades‘, created in 1919.

Oh well you would know that wouldn’t you – you took Art History at A level. So, clever clogs, what do the initials in the title stand for?

I couldn’t possibly tell you that here – this is family tea-time blog post, but you could look it up here.

As an artist I know you’re probably can’t read, but I expect you’ve heard that the History of Art A level is to be axed and become a museum exhibition piece of the future, along with Archaeology and Classical Civilisation?

Ah yes. I blame that cheeky Michael Gove chappie.

Well apparently lip-smacking, cool-talking, brexit-lying Mr Gove has denied that it was anything to do with him, and said that he’s always supported such subjects, even though as Education Secretary he did absolutely nothing to help save them. And by introducing the EBacc he has caused a reduction in the number of students taking Art&Design at GCSE.

So whose fault is it then?

Most writers are blaming AQA – the last Awarding Body offering the subject – who have claimed that, unlike other leading brands of History, accurate and reliable marking of such a wide-ranging subject is impossible. And anyway they can’t recruit enough examiners with appropriate teaching experience. Or to put it another way, there are not enough entries to make it commercially viable and increase their overall market share.

Just a minute, you’re making it sound like examining is a business. I thought it was something run by the universities, and that their role was to support and promote the accreditation of the widest possible range of academic courses?

That’s what it used to be like in the good old days, but not any more I’m afraid. And anyway, it’s not strictly speaking entirely the exam board’s fault.

Proceed, I prithee. I’m listening…

Well the real question is, why has demand for these subjects fallen so low?

Forsooth!  I trust the answer will be shortly be forthcoming, my Lord.

Give me chance, and drop the fake historical Ye Olde-English One Foot in the Past act will you?  Back in the 1970s and 80s schools with expanding sixth forms were able to run courses such as The History of Art with relatively small numbers of students, but now, unless a certain number opt to take an A level subject to make it ‘viable’ in terms of the cost of employing a member of staff, the course just doesn’t run and then isn’t offered in subsequent years.

And with regards to the History of Art there’s another factor that most writers have failed to mention, and that is that GCSE and A level courses in Art&Design already contain a significant coverage of study of the historic and contemporary artists and art movements. So most students who have opted for an Art&Design A level are encouraged to choose other more ‘facilitating’ subjects that don’t contain the word Art in their title in order to increase their chances of getting into a good university. And of course at the same time improving the school’s qualifying position in the Df-ingE Champions League Table.

But what about the Sixth-formers who know they want to become artists or designers, and don’t want to go to an academic university?

Sorry, I don’t quite understand the question. What do you mean ‘don’t want to go to an academic university’? What other purpose is there for going to school?

Well, it’s just that if you know you want to be an artist or designer it’s actually quite difficult choosing A level subjects that you might be interested in doing, and taking an A level in History of Art as well would help prepare you for the history and cultural study elements of your college courses, as well as looking good on your applications and in interviews as you discuss the influences that have informed your portfolio of work.

As an Oxbridge PPE scholar I have absolutely no idea what you are going on about. Surely if you want to be an artist or designer you need a string of A* grades, just as you do in any other subjects?

Not really. There’s a lot more to Art & Design than just being able to write essays. Actually many colleges of art are cautious about applicants with high examination grades as they tend not to be very creative, self-motivated, risk-taking students.

Well, if you say so. You’re not one of these Bremoaners are you by any chance? Whatever next?

Just one other thing. While dropping Art History as an academic A level subject is bad enough, I can’t help wondering why it is getting so much media coverage when there are a lot more serious concerns about the curriculum. How often do we see concerned articles reporting the emerging crisis in the lack of our children’s experience in the skills they will need to survive in a highly automated post-Brexit economy where things like experience of open-ended project-based problem-solving, collaboration, business and marketing will be urgently needed?

Hmm.  Have you seen the latest Tate Britain exhibition? It’s awfully good, the paintings are so realistic – artists had real skills in those days. And I’m glad to say there’s none of this 20th Century Modern Abstract Art nonsense on show.

Do say:  Wait, I hear there’s a possibility a different exam board might start to offer A level Art History again.

Don’t say:  I wonder if it will be a readymade specification?

A State of Atrophy

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On the basis that good design is so simples that children can do it and so there’s no need to employ experienced professionals, the Queen has launched a competition for teenagers to design a trophy for a valuable engineering prize.

Meanwhile it is believed that to save money the Government are also considering launching various competitions for teenagers with big boxes of LEGO prizes for the winners, including unpaid cabinet internships (except for winners from Scotland). Design Challenges include:

  • A Powerpoint presentation of a completely new economic model for post-Brexit Britain.
  • A poster featuring a highly memorable slogan that will fully persuade Remoaners that the future is going to be wonderful.
  • A new education system that will prepare children for mass unemployment from 2020 onwards.
  • Innovative NHS resources made from old cereal packets and sticky-backed plastic
  • An attractive and environmentally sensitive 3 metre high barrier to separate Britain from Scotland, to be known as Sturgeons Wall.
  • Portable survival shelters for all foreigners currently living in the UK.
  • A cheaper alternative to Marmite.

In reality of course, All Change Please! has no doubt that a group of teenagers – the ones that will inherit the current mess – would probably come up with far better solutions to these latter challenges than the so-called adults in charge at present.

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Meanwhile in other news, Wikipedia politely describes the advent of ‘F*ck Me‘ Shoes as “a derisive slang term for women’s high-heeled shoes that exaggerate a sexual image. The term can be applied to any women’s shoes that are worn with the intention of arousing others.”

At the recent Tory Party Conference however, Maggie May – well known for her enthusiasm for new shoes – kicked off her speech by walking on stage wearing a new exaggerated style of footwear. These were an aggressive pair of extremely hard steel-capped boots, to be known in the future as ‘F*ck You’ shoes and worn with the sole intention of intimidating others.

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And finally, in some Breaking News, former accountant and All Change Please! favourite Nick Glibbly is in the running for a Nobel Trophy for mathematics after today announcing the results of his years of research at the Df-ingE that have let him to the startling and unexpected conclusion that “We need to recruit sufficient numbers of teachers to match the increasing number of pupils.

Forever Changes

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Everything you always wanted to know about Curriculum Development but were afraid to ask…

If there is one current issue that would probably unite most teachers it’s that there’s too much change happening in education. There should, of course, be change in education, and it should be rapid and discontinuous, just as it is in the rest of the world: the problem is that at present it’s the wrong sort of change, and one that looks backwards to the distant past rather than forwards to the future.

Now All Change Please! has never featured a book review before, but, always keen to make changes, it is about to do so. And it just so happens that the book is about change in education, or at least about change as it used to be in the 1970s and 80s. If the government is determined to go backwards, perhaps this is where it should be looking and starting from?

All Change Please! first encountered Eileen Adams in 1980, and having kept in touch over the millennia was delighted when it was asked to write something about her work. Although her text primarily covers work Art, Design and Environmental Education the underlying theme is about how once upon a time positive change and progress was and can be achieved, and all without government interference. Here’s the review…

Change in education is notoriously difficult to achieve. The administrative structures, the numbers of teachers and managers, the range of agencies and political and economic pressures involved, not to mention the need to please Ofsted and achieve a high rank in different aspects of school league tables, means it’s usually easiest and wisest to leave things much as they are. Instead the focus is on the only thing that seems to matter these days, which is achieving the maximum number of children getting the highest possible grades in formal, and very traditional, academic public examinations that succeed only in revealing the true abilities of a minority of children.

But things were different in the 1970s and early 1980s, when teachers were encouraged to become involved in curriculum development in order to explore new and more effective ways of teaching and learning. Back then, ask almost any teacher of Art & Design or Geography what the leading curriculum development work in their subject was and they would have referred you to the Art and the Built Environment Project, run initially by the much-missed Schools Council and then by the Design Education Unit of the Royal College of Art, and powered by the inexhaustible Eileen Adams who toured the country – and indeed the world – running workshops and speaking at conferences. The premise was that architects and town-planners would work alongside teachers and children, but with the unspoken and delightfully subversive intention that it was not so much the professionals informing the educationalists, but the children informing the professionals by revealing to them the way they saw and experienced their world. The project also provided the basis for a successful model of curriculum development based on a ‘ground-up’ network that, with the advent of the ‘top-down’ National Curriculum, has yet to be explored further.

Since then Eileen Adams has worked on an extraordinary variety of major initiatives and commissions, most notably Learning Through Landscapes, which focused on the use and design of school grounds to promote learning outside the classroom, and more recently The Campaign for Drawing with its Big Draw – the month long nationwide festival, which is the world’s largest drawing festival.

Eileen’s book provides a detailed account of the wide variety of strategies she has adopted in her attempt to persuade teachers, lecturers and organisations and institutions to think and act differently, primarily through action research. At the same time the text documents the various financial and bureaucratic difficulties and frustrations she encountered. While essentially autobiographical it draws on her direct experiences of the successes and failures of initiating change in both a visionary and down-to-earth manner.

From a purely historical perspective ‘Agent of Change’ is a fascinating account of the way in which curriculum development was starting to work before the politicians decided in the late 1980s that they should be the ones who decided what should be taught in our schools. It also contradicts the current propaganda that the ideas of so-called ‘progressive’ educationalists of the time simply advocated a ‘do what you like’ approach, revealing the detailed and careful orchestration that scaffolded the learning experience.

This is a ‘must-read’ book for all those involved in art, design and environmental education, and particularly, and indeed ideally, those responsible for determining national educational policy.

There is further information about Eileen Adams: Agent of Change here, and it can be purchased here and here, and of course from all good bookshops…