NSW Department of Education and Training
Leadership Fellowship 2005–2006
Leadership strategies which have nurtured the
development of specialist visual arts and design high
schools in the United Kingdom
Ron Miles
Principal
Dulwich High School of Visual Arts and Design
New South Wales
Australia
2007
NSW Department of Education and Training
Leadership Fellowship 2005–2006
Leadership strategies which have nurtured the development of specialist
visual arts and design high schools in the United Kingdom
CONTENTS
Page
Executive Summary
3
1. Overview of the research study
4
2. Background information
4
3. The English Context
5
3.1 The Structure of the English Government School
System
5
3.2 The Place of Specialist Schools
7
3.3 Becoming a Specialist School:
7
4. Research methodology
8
5. Research Findings
9
5.1 The “Commitment”
9
5.2 The Literature Search
10
5.3 Empirical Research
11
6. Implications of the findings for the practice of leadership
14
7. Implications for Dulwich High School of Visual Arts and
Design
15
8. Recommendations
15
9. Bibliography
17
10. Appendix 1
19
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Leadership strategies which have nurtured the development of specialist
visual arts and design high schools in the United Kingdom
Executive Summary
This research explores the leadership strategies which have nurtured the development of
specialist visual arts and design high schools in the United Kingdom, specifically twelve
schools located in the southwest and southeast of England. In addition, it considers the
current configuration of schools in the English education system and the development of
curriculum specialisation in comprehensive schools with particular reference to the visual arts
specialisation. A further aspect of the research was to consider the rationale behind specialist
visual arts high schools and any resulting link between creativity and enhanced student
outcomes.
The literature search explores the relationship between a curriculum based on the arts and
enhanced student outcomes in all disciplines and concludes that such a positive, if not direct,
correlation exists. This, in itself, justifies the enormous funding being directed into this aspect
of the English education system. Empirically, such a relationship was affirmed by all Head
Teachers interviewed; however, it appears the momentum for school improvement was a
result of this creative influence together with the re-energising which occurred in the process
of planning and evaluating school practices in order to gain the specialisation.
It is at this point that leadership strategies are most pertinent. Head Teachers must be
perceptive in gauging the relative strengths of their Faculties, mustering the energy, cooperation and collaboration of all the staff – even though, superficially, a few staff would
seem to gain initially – co-ordinate the planning and evaluation strategies to gain the
‘specialism’, co-ordinate the resulting resources and delegate appropriately to meet the
projected Office for Standards in Education (OfSted) targets.
These findings reinforce the importance of the attributes to be found in the Inter-Personal
Domain of the NSW School Leadership Capability Framework. These point out that the
attributes of effective communication; the development of productive relationships and the
ability to inspire and motivate others are essential ingredients in successful leadership.
Both the empirical evidence and literature search affirm the indirect link between a
curriculum delivered creatively and enhanced student outcomes. Indeed, in a small research
experiment at Dulwich High School of Visual Arts and Design, Year 8 Design and
Technology students, this relationship was also confirmed.
Leadership Fellowship 2005–2006, Ron Miles
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1. Overview of the Research Study
This research was undertaken by Ron Miles, Principal, Dulwich High School of Visual Arts
and Design as a recipient of a Leadership Fellowship 2005–2006 that was awarded by the
NSW Minister for Education and Training.
A significant amount of the research was undertaken in 12 specialist schools in London and
the southeast and southwest of England and in discussion with the English Specialist Schools
and Academies Trust (SSAT) management personnel.
The aim of the research was to investigate leadership strategies that have nurtured the
development of specialist visual arts and design high schools in England.
As the research progressed, there was an increasingly important link that emerged between
leadership and pedagogy: A number of specialist visual arts and design schools used the
additional resources to emphasise not only the subjects located within the ‘specialism’ (the
term used by the English Department of Education and Science) but also the underpinning
philosophy of the specialism – creativity – and attempted to use this concept to reinvigorate
teaching and learning across the entire school curriculum.
In this way, these schools were attempting to fulfil the requirements of the Specialist Schools
and Academies Trust (SSAT) Arts Colleges Mission Statement which states in part:

Arts colleges will raise standards of achievement and the quality of learning in their
chosen area of the arts for all their students, leading to whole school improvement in
performance.
 Arts colleges will be innovative in finding new ways for learners to learn well. They will
identify ways in which the arts can improve learning in other curriculum areas. They
will take a lead in using Information and Communication Technology (ICT) as a means of
enhancing learning in the arts and other subjects.
This link between pedagogy and leadership and the impact of creativity on student outcomes
became a second focus of the research.
2. Background Information
In 2000–2001, the NSW Department of Education and Training initiated a program of school
rationalisation in the inner suburbs of Sydney. This program, known as “Building the
Future”, added an academically selective stream to two existing high schools, closed a
number of primary schools and one secondary school, proposed an amalgamation of two high
schools, Dulwich High School and Marrickville High School, and created a senior secondary
college, Rose Bay Secondary College, from two high schools.
The school communities of Dulwich Hill and Marrickville lobbied strongly that their local
schools were essential to the social fabric of their neighbourhoods. As a result, the
Department of Education and Training reversed the decisions relating to these schools and
maintained them as separate entities. To assist the schools in their future development, both
schools were given a particular curriculum designation: Dulwich High was to be a specialist
Leadership Fellowship 2005–2006, Ron Miles
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Visual Arts and Design school, while Marrickville became a specialist school in Information
Technology and Communication (ITC).
To assist the schools in the transition to these curriculum specialisations, the NSW
Government provided approximately $2 million for each school. Dulwich High built a Visual
Arts facility consisting of two art studios, a digital studio and an art gallery and refurbished
the school’s administration centre.
A new Principal and Deputy Principal were appointed to Dulwich High School with the brief
to transform the school into a specialist Visual Arts and Design school and to thereby ensure
its viability. The transformation issues were centred on curriculum change, organisational
change and attitudinal change. There were no curriculum models in Australia from which to
gain ideas and inspiration.
3. The English Context
3.1 The Structure of the English Government School System
The Government’s School Standards and Framework Act 1998 provides for the following
categories of schools within the 3496 secondary schools within England:
Source: OfSted 2003
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Comprehensive Schools:
These schools represent the largest category of schools (81%). As in NSW, these schools
educate students irrespective of intellectual ability, religion or sex
Grammar Schools:
Some counties still operate an academically selective secondary school system. Grammar
schools exist in conjunction with comprehensive schools and/or in a small number of
locations, secondary modern schools. Grammar schools comprise 4.5% of schools in
England. Students in these counties sit for a test at the age of 11 called the 11plus Test. The
results of this test determine whether students gain entry to the local grammar school.
Students who do not reach the desired benchmark at the 11plus Test attend the
comprehensive school or the few remaining secondary modern schools (4% of schools).
Secondary Modern Schools:
This type of secondary school has existed in Britain since 1944 and still operates in a small
number of counties and regions including Kent, Dorset, Buckinghamshire, Stoke, Slough, the
Wirral and Ripon.
The 1944 Butler Education Act created a system in which students were tested and streamed
at the age of 11. Those who were thought unsuitable for an academic curriculum were to be
sent to the secondary modern, where they received training in simple, practical skills.
Education here was to focus on training in basic subjects such as arithmetic, mechanical skills
e.g. woodworking and domestic skills, including cookery
There was a perception by some in the community that the secondary modern was the school
for failures. Those who had ‘failed’ their eleven-plus were sent there to learn rudimentary
skills before advancing to menial jobs. Secondary moderns prepared their students for the
Certificate of Secondary Education (CSE) examination, rather than the more prestigious O
level examination, and although training for the latter was established in later years, less than
one in ten children took advantage of it. In 1963 only 318 former secondary modern students
sat A levels. None went on to university.
The poor performance of the ‘submerged three quarters’ of English schoolchildren led to
calls for reform and in 1965, the Labour government implemented the Comprehensive
System.
By 1976, with the exception of a few regions mentioned above, secondary modern schools
were formally phased out.
Academies:
Academies were introduced in 2000 as a different type of secondary school. They were
intended as a method of dealing with the historic problem of the entrenched failure of those
schools in England that do not achieve academically or those schools in areas of little
educational aspiration.
Academies are established by sponsors from business, faith or voluntary groups working with
the community, and they can be more flexible with their curriculum and staffing to meet local
needs. A private organisation must put in £2m and the government will provide the remaining
£20m or so.
The government has set a target of 200 Academies by 2010. Currently there are 30.
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3.2 The Place of Specialist Schools
Any government-funded (maintained) secondary school in England can apply to be
designated as a specialist school in technology (technology, science and mathematics),
languages (Modern and Foreign Languages), sports (Physical Education and sport), arts (fine,
performing and media arts), science, engineering and business and enterprise. The schools
meet full national curriculum requirements, but have a special focus on the chosen
specialisms. They raise £50,000 from private sector sponsorship and prepare plans for
improvements in teaching and learning.
The government wants all schools to become specialist schools, focusing in at least one
particular subject by 2008. Already existing specialist schools are being encouraged to take
on another specialism.
The Specialist Schools Program (SPS) has become increasingly popular since its inception in
1994. There are currently 2,502 designated specialist schools. Specialist schools represent
over 75% of all secondary schools. Over 2.5 million students are now taught in specialist
schools – over half of all students attending secondary schools. There are specialist schools in
all areas of England, and every local education authority that has secondary schools has at
least one specialist school. Nine Local Authorities already consist of specialist schools only.
The organisation of English specialist schools is carried our by the Specialist Schools Unit of
the Department of Education and Science. Professional learning and inter- school liaison is
carried out by the Specialist Schools and Academies Trust.
3.3 Becoming a Specialist School:
To become a Visual Arts Specialist School, the school must develop a ‘bid’. This entails:

demonstrating an existing excellent Visual Arts faculty, which already meets the
Office for Standards in Education (OfSted) targets
 raise sponsorship of £50,000 from the community
 evaluate and then develop a whole school improvement plan setting OfSted targets for
Visual Arts as well as all other subjects
 develop a plan to work with the school’s community including local Primary and
High Schools.
The currency of the 'bid' is four years; after that time the school must re-apply.
If schools are successful in their ‘bid’ for a Visual Arts specialism, they receive:
 a capital grant of £ 100,000
 a per capita student amount of £129 each year for four years.
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4. Research Methodology
Research into the structure and operation of the English SSAT and the discovery of a network
of specialist Visual Arts and Design schools in England was carried out electronically.
Interviews were undertaken during February and March 2006 (see Appendix 1).
The findings in this report were compiled from structured interviews and discussions
involving:
National Specialism Coordinators
Head Teachers (Principals)
Deputy Head Teachers
School Art Directors
Community Art Directors
Art Resource Officers
Faculty Heads
School artists in residence
2
12
8
10
5
9
7
3
The key questions used in the school research, were structured around the NSW School
Leadership Capability Framework.
Strategic Domain: NSW School Leadership Capability Framework
 Has the school developed new pedagogy to meet the teaching and learning needs of
visual arts and design students?
If so, what strategies were used to introduce and implement these techniques?

What impediments were noted in the implementation of these changes and how did
the school overcome them?

What partnerships have the school developed which has assisted in the
implementation of its new direction?
Organizational Domain: NSW School Leadership Capability Framework
 What additional resources (both human and financial) were available to the school to
assist in the implementation of these changes?

What strategies really made a difference in the introduction and development of the
school’s pedagogic and cultural changes?
Educational Domain: NSW School Leadership Capability Framework
 In what ways is this school now different to schools without such a curriculum
specialisation?

What impact has this specialisation had on student learning outcomes and what
evidence do you use to make this judgment?
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In addition, key questions asked of English SSAT personnel were:

How important is leadership in the initiation and implementation of curriculum and
cultural change in these identified schools?

If leadership is important, how have these school leaders been selected?

What aspects of leadership have been the most decisive in initiating and
implementing effective and lasting change?

On what basis is teaching staff allocated to these schools?

What impact has there been on student outcomes in these schools and what evidence
has been used to make this judgement?
5. Research Findings
The “Commitment”
Before we proceed to examine the essential findings of the research, it is instructive to
consider the rationale behind the English Government’s decision to foster school diversity
through, amongst other measures, the development of ‘specialisms’ in secondary schools.
This rationale represents Dunkin and Biddle’s ‘Commitment’: an underpinning concept that
has the potential to ‘colour research and influence results.’
The English Government sets out two key principles that underpin the agenda for supporting
school diversity:
Specialising
1. A school that builds on its individual strengths and develops a clear sense of its own ethos and
character is more likely to be a successful school. The school diversity programmes promote school
improvement by providing opportunities for schools to work to their strengths, enabling them to take
the lead in their area of expertise and to drive innovation.
Collaborating
2. School diversity has the potential to benefit all students in a community when schools work together
to share their resources and expertise. As schools develop their individual strengths, and standards of
teaching and learning improve they can then contribute to raising standards in the wider system.
The rationale for promoting school diversity is based on sound evidence that schools with a mission
and a clear focus are successful in raising standards. As schools develop their specific areas of
expertise they should then be contributing to the wider system through a local network, or 'community
of schools.
The Standards Site; Department for Education and Skills:
www.standards.dfes.gov.uk/schooldiversity/the_programmes
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The Literature Search
There exists an array of research seeking a causal, direct relationship between a creativitybased curriculum and improvements in student outcomes. Most of this work struggles to find
a direct correlation between creativity and student outcomes but makes reference to an
indirect correlation which includes the ‘knock-on’ effects of increased self esteem, increased
engagement, improved personal skills which emanate from creative learning experiences and
which then lead to improvement in student academic outcomes.
One example of such research is a landmark study in the United States Champions of
Change; the Impact of the Arts upon Learning, the Arts Education Partnership and The
President’s Committee on the Arts and the Humanities (1999) which examines the role of arts
education on the academic, behavioural and thinking lives of children through a collection of
seven major studies. The report acknowledges the "messy, often hard-to-define real world of
learning, both in and out of school" and, therefore, sees these findings as all the more
relevant.
In addition to the individual studies, all conducted by professional academics, the report
organises the material from each of the studies into a coherent presentation of the broader
concepts and findings that emerged. The studies reveal that the arts:
 reach students who are not otherwise being reached
 reach students in ways that they are not otherwise being reached
 connect students to themselves and each other
 transform the environment for learning
 provide learning opportunities for the adults in the lives of young people
 provide new challenges for those students already considered successful
 connect learning experiences to the world of real work
 enable young people to have direct involvement with the arts and artists
 require significant staff development
 support extended engagement in the artistic process
A later work of James Catterall: Critical Links: Learning in the Arts and Student Social and
Academic Development (2001) considers the impact of visual arts, music, drama and dance
on general academic and social outcomes. According to Catterall, the conclusion is obvious:
The accumulated research of skilled scholars carrying out their work in a range of established methods
is unambiguous: the arts contribute in many ways to academic achievement, student engagement,
motivation, and social skills. Notions that the arts are frivolous add-ons to a serious curriculum couldn't
be farther from the truth. While education in the arts is no magic bullet for what ails many schools, the
arts warrant a place in the curriculum because of their intimate ties to most everything we want for our
children and schools
It appears then that the literature endorses the movement and the ‘commitment’ of the
English Department of Education and Science to develop schools with, in this case, visual
arts ‘specialism’ because this focus enables schools to ‘work to their strengths’ to enhance
outcomes across the entire curriculum and ‘to drive innovation.’
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Empirical Research
i. Strategic Domain: NSW School Leadership Capability Framework
All schools visited had adopted a different pedagogical approach since the introduction of
their Visual Arts specialism. In addition, there was marked inconsistency in direction and
implementation.
Some strategies that were used in school-wide programs were:
 allocation of a portion of the bid money of £ 150,000 (A$374,000) plus student per
capita grant of £129 (A$217) to other Faculties so they could fund and develop visual
and human resources and extra curricula programs
 appointment of an Art Technician to assist all faculties to develop ‘creativity’ in
lesson delivery
 School-wide programs such as Challenge Days and Creativity Week to highlight and
practice problem solving and lateral thinking
 purchase of interactive white boards and requisite training in their use
 the establishment of a Making Room where creative teaching/learning strategies can
be pursued with the aid of the Art Technician, for example, model making, poster
making, puppet making, painting, make up
 cross-curricula teaming with visual arts and two to three other Faculties
 artists in residence programs
 team teaching: art teacher and another faculty teacher on same class
 wider curriculum choices, especially in visual arts.
Whilst changes in pedagogy can be strongly implied from these practices, I did observe a
wonderful German language lesson for Year 8 students using an interactive white board,
individual student traditional white boards with markers and a creative photocopied exercise.
Students were stimulated, engaged and entertained in a very effective integration of
traditional pedagogy and technology.
In the implementation of the visual arts specialism, a small number of schools reported
‘envy’ towards the visual arts faculty; however, the provision of specialism funds to all
faculties and resource people to assist in developing visual literacy strategies in their own
areas soon led to its dissipation.
A component of each school’s bid requires that it use one third of the specialism grant to
service the local community. At the minimum, this requires developing more effective
relationships with at least five local Primary Schools to extend their students and teachers
artistic and creative talents. Many schools have developed much more extensive partnerships,
with two schools using the funding to institute a Community Arts Co-coordinator position.
These people have created an extensive after school and Saturday morning arts program
which, in one case caters for 1000 people a week. Other such programs extend the school’s
artistic reach to hospitals, groups with disabilities, art galleries and local councils.
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ii Organisational Domain: NSW School Leadership Capability Framework
Obviously, the additional funding that results from a successful bid enables a school to look
and feel a very different place. This was certainly the case in all schools visited with the
money being used to build or refurbish visual arts learning areas and to employ additional
staff.
This funding also enabled the spread of art across the school through the exhibition of the
work of students, staff and visiting artists. It provided materials to refurbish school foyers and
transform them into exhibition spaces. It gave the school the ability to employ artists who
worked with students to produce large pieces of sculpture which enlivened the school
environment. One interesting but simple strategy was “Door Art” in which every teacher
chose a favourite painting or drawing which was then exhibited on his/her classroom door – a
simple but effective strategy to ensure that students can see the total appeal of art.
The initiative that really made a difference in the implementation of change, according to
Head Teachers, was the “planning to improve” strategy that accompanied the bid for the
specialism. This plan required an intensive evaluation of the school’s academic results with
subsequent quite rigid targets for the ensuing two–four years; these plans are monitored
annually by the OfSted. Many Head Teachers (Principals) commented that this plan involved
all the school’s stakeholders and gained commitment from the school community. Such a
plan focused effort on gaining the specialism which then galvanized the school into action.
However, on many occasions, the comment on ‘going with the goers’ was made with this
process ‘shaking out’ some teaching staff. As schools have the right to employ and dismiss,
this was not an idle comment.
The other major factor was the attitude of the Head Teacher towards the chosen specialism.
Here again, the mountain of literature which confirms the importance of the school leader in
any change process was confirmed.
The main difference and reason why the school has been successful in implementing both new teaching
theories and practices and producing a cultural change across the whole school is through the role of
the Head Teacher who has been pro-active and taken it upon herself to attend all events, participate,
support all staff/department with projects or training and to work with all of the partnership groups to
help establish the school locally and nationally.
Jonathon Hibben, Art Director Cornelius Vermuyden School and Arts College, Canvay Island, Essex.
(2006)
Indeed, the pivotal role of the Head Teacher was illustrated starkly by the experience of one
inner city London school where it was perceived by the Art Head of Department (HOD) that
there was little encouragement for the specialism. The evidence for this, according to the
HOD was that the Head Teacher could not find additional classrooms and storage space
across the school to assist the Visual Arts specialism. While it appeared many of the
initiatives that existed in other schools were also in operation here, the HOD stated there was
no obvious change in pedagogy and little take up of specialist art personnel by other faculties;
for this, she laid the blame squarely at the lack of support provided by the Head Teacher. The
school was riven with dispute because the Performing Arts staff was competing for the
specialism and there was some resentment at the timetable advantages for the Visual Arts
teachers as a result of the specialism. It appeared that the Visual Arts outcomes were
extremely well addressed but the influence of the specialism was spread thinly across the
school.
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Other factors contributing to the impact of the specialism in all schools were:
 Art support staff working across faculties to produce work which appealed to different
learning styles, especially boys
 The Art Technician providing successful learning experiences in other faculties: these
faculty members then became advocates for the process.
Interestingly, the SSAT personnel revealed that, despite the importance of the Head Teacher
in the change process, there were no special pre-requisites for Head Teacher recruiting to a
specialist school. It is, as in NSW, through an interview process. The Head should be a
person who has the “skills to organize the team who are delivering in the classroom; that
specialism then drives the will for school improvement.” Richard Jones: National Specialism
Coordinator, Music and Performing Arts, Specialist Schools and Academies Trust: 2006
iii Educational Domain: NSW School Leadership Capability Framework
Apart from the tangible differences of more and better facilities and staff, many of these
schools commented upon a change in school climate which was associated with the
specialism. One Head teacher noted that the school was ‘abuzz with creativity’; another
described the school as now ‘more entrepreneurial, responsive to change rather than
hesitant: a ‘can-do’ culture, energetic and devoted to continuous improvement.’ Peter
Thomas, Head Teacher, Maiden Erlegh High School, Reading, Berkshire, UK: 2006
Another Head Teacher said their school was now much more reflective and less hostile to
new ideas and change.
Associated with this was the enhanced competition between faculties as they attempt to
match the student recruitment and success of the arts subjects.
Interestingly, one school echoed some of the findings of the Champions of Change research.
In a county which still operates grammar schools, students who were unsuccessful in gaining
admission to a grammar school enrolled at Bradbourne Girls High – a comprehensive school
- lacking in some confidence. However,
“Art at Bradbourne has given them the confidence to try other things. It helps them to
overcome the disillusionment of failing the 11+” Mary Boyle, Head Teacher, Bradbourne
Girls High School (2006)
All schools reported that their academic results, as measured by the percentage of students in
the A*– C bands of the GCSE, had improved dramatically. However, there was less
confidence about the direct impact of the specialism on these results apart from stating that,
in the macro sense, the changes in school climate and the school’s other programs must have
a positive impact on school academic performance. However, there was no such shyness
about attributing improved results in visual arts to the specialism. There was absolutely no
doubt that the specialism had resulted in schools being more creative, interesting and
engaging places in which to learn.
“A key advantage for pupils who attend an Arts College is that they have many more
opportunities to unlock talent and creativity through enjoyable activities, which provide them
with skills that transfer into every aspect of learning and thus enhance their accomplishments
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across the curriculum. The result is a productive learning environment and a positive ethos
that fosters high achievement in every aspect of school life”
Jonathon Hibbens, Art Director, Cornelius Vermuyden School and Arts College, Canvay
Island, Essex (2006)
In summary, then, the essence of the development of a Visual arts specialist school is:




6.
the pivotal role of the Head Teacher who is passionate about education and is a skilled
change manager
a school executive which has the breadth of vision to understand that the specialism will
drive progress across the school, not only in visual arts
managerial mechanisms for example hiring appropriate personnel, adjusting school
budgets to promote this cross-faculty fertilization
professional learning to enable teachers to understand the place of creativity in each of
their curriculum areas and the ability to harness ITC to assist such integration.
Implications of the findings for the practice of leadership
The practices of successful school leaders of English visual arts and design specialist schools
reflect a knowledge and understanding of the requirements in the five major Domains of the
NSW Leadership Capability Framework. However, the one area that appears to be the most
important in this context is the Interpersonal Domain. Whilst the attributes contained in this
Domain might seem of secondary importance when compared with those of the Educational,
Organisational and Strategic Domains, it is my personal experience, reinforced by the
English Head Teachers interviewed, that effective communication, the development of
productive relationships and the ability to inspire and motivate others are essential
ingredients in successful change management.
At Dulwich High School of Visual Arts and Design there was a perception by some staff that
there was a bias, in terms of resources, toward of one part of the school at the expense of
other parts. This required that my leadership strategies include empathy and regular sensitive
communication. At the same time, I had to develop productive relationships with all staff
members so that I could foster trust and confidence and an understanding that this change
would eventually reap rewards for all.
These perceptions are magnified in the context of my English colleagues who not only have a
great deal of funding to direct to the specialism but where the perception of bias could be
manifested by both differential staffing and additional assets in the form of buildings and
equipment, that is, it is much more obvious! In fact, Richard Jones, National Specialism
Coordinator, Music and Performing Arts, Specialist Schools and Academies Trust, reinforces
the notion that such leadership is vital:
The Head Teacher needs to continually point out that the specialism is driving school improvement. (2006)
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7.
Implications for Dulwich High School of Visual Arts and
Design
Since my return, I have focused my leadership strategies to introduce aspects of the Visual
Arts specialism currently in operation in some of the English schools that I investigated in
this research. As a result I have:
 employed an Art Technician to spread the influence of art across the school and inject
Visual Literacy strategies into teaching/learning programs in all Key Learning Areas
 implemented a Making Room where creative teaching/learning strategies can be pursued
with the aid of the Art Technician
 planned for the purchase of and training in the use of electronic white boards
 employed an academic partner from the University of Western Sydney to provide
professional learning in cross faculty creative teaching/learning strategies
 used a Year 8 Technology class to experiment with a unit of work based around ‘doing’
and ‘engagement’ strategies in the context of the NSW Quality Teaching Framework
(The class evaluation indicated that students enjoyed the unit and felt they ‘learned more’
than when taught using more ‘traditional’ methods.)
 introduced ‘Door Art’ where every teacher chooses a favourite painting or drawing to
exhibit on his/her classroom door.
8.
Recommendations

That the NSW Board of Studies reconsiders the structure of curriculum in Stage 4 to
enable more time to be devoted to creative and performing arts subjects.

That the NSW DET researches the most effective visual learning tools such as data
projectors, interactive white board system and provide these items and training for their
use at a premium rate for schools.

That the quality teaching framework be enhanced by an understanding of the role and
effectiveness of creativity and visual learning in the planning and delivering of lessons.

That the DET and NSW Principals’ Associations provide professional learning for school
executive and those aspiring to leadership at all levels, in those aspects of the Personal
and Interpersonal Domains of the School Leaders Capability Framework which
emphasise team building and the importance of personal relationships.

That the DET monitor more closely school management plan targets and link success in
meeting school targets and plans for future targets with additional funding. The
mechanism by which schools received funding from the Commonwealth Disadvantaged
Schools Program, now the Priority Schools Funding Program, during the 1980’s is a
suitable model.

That the money allocated in school’s annual budgets be augmented to allow more funding
to teaching/learning programs and Faculty budgets.
Leadership Fellowship 2005–2006, Ron Miles
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
That the numbers of School and TAFE NSW Administrative and Support Staff (STASS)
in schools be increased to include an art technician with a brief to:
o assist in the Visual Arts Faculty
o enhance the appearance of the school through creative notice board displays, art
works and signage
o work with other Key Learning Areas (KLA’s) to inject creativity and ‘making’
into lesson delivery.

That the DET ensure all teaching staff undertakes training in the use of ICT so there is a
common base line of knowledge in all schools.

That the DET more effectively publicise the work of the Sponsorship Unit, located in the
Strategic Initiatives Directorate, which could link schools to local businesses for mutual
benefit.
Leadership Fellowship 2005–2006, Ron Miles
Page 16 of 22
Bibliography
Publications
A Search for Jobs in some of the Wrong Places
R. Florida
USA Today 2.12.2006
Arts Education in Secondary Schools: Effects and Effectiveness
J.Harland, K.Kinder, P.Lord, A.Stott, I.Schagen, J.Hayes 2000
National Foundation for Educational Research; London, UK
Best Practices in Art Colleges: A Guide to School Improvement
Specialist Schools and Academies Trust; 2003
London, UK
Champions of Change: the Impact of the Arts upon Learning
The Arts Education Partnership
The President’s Committee on the Arts and the Humanities, 1999
Washington DC, USA
Citizenship in the Community: Challenges and Opportunities for Specialist Schools
A.Lagen; 2005
Specialist Schools and Academies Trust.
London, UK
Critical Evidence: How the Arts benefit Student Achievement
S.Ruppert; 2006
National Assembly of State Arts Agencies
Washington DC, USA
Critical Links: Learning in the Arts and Student Social and Academic Development
James Catterall; 2001
Arts Education Partnership
Washington DC, USA
Making Middle School Cool
Anne Bamford
EQ Spring 2002
Curriculum Corporation
Melbourne, Australia
School to School Partnerships: How Schools are Learning from Teaching Each Other
S.Gallagher and C.Homer; 2005
Specialist Schools and Academies Trust
London, UK
Leadership Fellowship 2005–2006, Ron Miles
Page 17 of 22
The Arts and Academic Achievement
Journal of Aesthetic Achievement, Vol. 34, no 3-4
Fall/Winter 2000
A review by Judith T. Witmer, EdD
The Best of Both Worlds: Developing Successful Partnerships between Schools and the Arts
L.King and P.Reeve; 2006
Specialist Schools and Academies Trust
London, UK
The Study of Teaching
Michael Dunkin and Bruce J Biddle; 1974
Holt, Rinehart and Winston, Inc
New York, USA
Websites
How Can Heads and Managers Promote Creativity?
National Curriculum in Action
www.ncaction.org.uk/creativity/whyis.htm
School leaders Capability Framework
www.det.nsw.edu.au/proflearn/areas/sld/frameworks/slcf.htm
Specialist Schools and Academies Trust
www.specialistschools.org.uk/
The Standards Site
www.standards.dfes.gov.uk/specialistschools/
Why is Creativity so Important?
National Curriculum in Action
www.ncaction.org.uk/creativity/whyis.htm
Leadership Fellowship 2005–2006, Ron Miles
Page 18 of 22
10. Appendix 1: Itinerary
DATE
Sunday 19 February 2006
Monday 20 February
Tuesday 21 February 2006
LOCATION
Sydney Australia to London
UK
Sydney Australia to London
UK
Millbank Tower, 21-24
Millbank, London SW1P
4QP UK
Wednesday 22 February
2006
London UK
Thursday 23 February 2006
The Barbican, London UK
Friday 24 February 2006
The Barbican, London UK
Saturday 25 February 2006
London UK
Sunday 26 February 2006
Monday 27 February 2006
London UK to Plymouth,
Devon UK
Plymouth, Devon UK
Tuesday 28 February 2006
Devon to Dorset UK
Ferndown, Dorset, UK
Wednesday 1 March 2006
Dorset to Wiltshire UK
The Tynings, Corsham,
Wiltshire, UK
Leadership Fellowship 2005–2006, Ron Miles
ACTIVITY
Travel
(1 day)
Travel
(1 day)
Meet Richard Jones,
National Specialisms Coordinator Music/Arts
(1 day)
Preparation for presentation
at DETS Visual Arts
Conference; The Barbican,
London (1 day)
Attendance and presentation
at DETS Visual Arts
Conference; (1 day)
Attendance at DETS Visual
Arts Conference; The
Barbican, London (1 day)
Writing up notes from
Visual Arts Conference
(1 day)
Travel (1 day)
Meet with Mr Graham
Brown Head Teacher
Estover Community
College to discuss
strategies which enabled the
successful implementation
of curriculum and cultural
change in his school.
Travel (1 day)
Meet with Mr Alex Wills
Head Teacher of Ferndown
Upper School to discuss the
strategies used to gain
ArtMark accreditation (Sept
2004)
Travel (1 day)
Meet with Mr Martin
Williams Head Teacher,
The Corsham School to
discuss strategies which
enabled the successful
implementation of
curriculum and cultural
Page 19 of 22
Thursday 2 March 2006
Cheltenham to
Gloucestershire UK
Cheltenham,
Gloucestershire, UK
Cheltenham to Gloucester,
Gloucestershire, UK
Friday 3 March 2006
Banbury, Oxfordshire, UK
Saturday 4 March 2006
Banbury, Oxfordshire, UK
Sunday 5 March 2006
Banbury, Oxfordshire UK
to Reading, Berkshire UK
Reading, Berkshire, UK
Monday 6 March 2006
High Wycombe,
Oxfordshire UK
Leadership Fellowship 2005–2006, Ron Miles
change in his school
Travel (1 day)
Meet with Mr Gorman
Stafford, Head Teacher
Cheltenham Bournside
School and Sixth Form
Centre to discuss the
strategies used to introduce
visual literacy across the
curriculum and its impact
on student outcomes
Meet with Mrs D. Paveling
Head Teacher of Newent
Community School
Gloucester to discuss the
strategies used to introduce
visual literacy across the
curriculum and its impact
on student outcomes
(1day)
Travel from Gloucester to
Banbury, Oxfordshire to
meet with Mr Paul
Mcintyre, Head Teacher
Chenderit School to discuss
the operation of the school’s
art gallery and the strategies
the school uses to interact
with the local arts
community (1 day)
Writing notes and
consolidating information
from school visits (1 day)
Travel (1 day)
Meet with Dr. Peter
Thomas Head Teacher
Maiden Erlegh School to
discuss strategies which
enabled the successful
implementation of
curriculum and cultural
change in his school
Travel to Sir William
Ramsey School, High
Wycombe,
Buckinghamshire to meet
Page 20 of 22
Tuesday 7 March 2006
Wednesday 8 March 2006
High Wycombe UK to
Canvey Island, Essex UK
Canvey Island, Essex, UK
Thursday 9 March 2006
Canvey Island Essex to
Dover, Kent, UK
Dover, Kent, UK
Friday 10 March 2006
Dover, Kent to Sevenoaks,
Kent, UK
London, UK
Saturday 11 March 2006
London, UK
Sunday 12 March 2006
London, UK
Monday 13 March 2006
St Charles Square, London,
UK
Tuesday 14 March 2006
Hanwell, London, UK
Leadership Fellowship 2005–2006, Ron Miles
Head Teacher Mrs Gaynor
Comer to discuss strategies
which enabled the
successful implementation
of curriculum and cultural
change in her school
(1 day)
Travel (1 day)
Meet with Mrs Carol
Skewes, Head Teacher of
Cornelius Vermuyden
School to discuss the
strategies used to integrate
visual arts and design into
the total curriculum
Travel (1 day)
Meet Mr Christopher
Russell Head Teacher,
Astor College for the Arts
to discuss strategies used to
integrate visual literacy
across the curriculum
Travel
(1 day)
Meet Head Teacher of the
Bradbourne School,
Sevenoaks to discuss
strategies used to integrate
visual literacy across the
curriculum
(1 day)
Writing up notes of visits
(1 day)
Writing up notes of visits
(1 day)
Meet Ms Christina Leach
Head Teacher of Sion
Manning Roman Catholic
Girls School to discuss
strategies used to integrate
visual arts and design
perspectives across the total
curriculum.
(1 day)
Meet Mr. Arwel Jones Head
Teacher of Brentside High
School to discuss strategies
used in developing a
Page 21 of 22
Wednesday 15 March 2006
Millbank Tower, 21-24
Millbank, London SW1P
4QP UK
Friday 17 March 2005
London UK to Sydney
Australia
Leadership Fellowship 2005–2006, Ron Miles
partnership with the
University of the Arts,
London (1 day)
Summary discussions with
Richard Jones, National
Specialisms Co-ordinator
Music/Arts
Department for Education
and Skills (2 days)
Travel (1 day)
Page 22 of 22