Art craft and design professional development materials

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Ofsted publishes a number of subject surveys every year. They look at developments in a specific subject over the previous three years, based on specialist inspectors visits to a range of schools. This resource has been put together to help teachers of art, craft and design in schools, colleges, early years and gallery settings improve teaching and learning by reflecting on the main messages from the report, Making a mark: art, craft and design 2008-11, published in March 2012. The resource can be viewed in full screen or downloaded as a PowerPoint file for presentation.

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  • 1.Ofsteds subject professional development materials:Art, craft and design A training resource for teachers of art, craft and design in schools, colleges, early years and gallery settings2012Ofsteds subject professional development materials: art, craft and design November 2012 Slide 1 of 37

2. About this training resource This resource draws on the following Ofsted publications: Ofsted triennial subject reports Making a mark: art, craft and design 2008-11(110135), Ofsted, 2012;www.ofsted.gov.uk/resources/110135 Drawing together: art, craft and design 2005-8(080245), Ofsted, 2009;www.ofsted.gov.uk/resources/080245 Ofsted reports which focus on outstanding provision(slide 3) Ofsteds good practice case studies These include examples of school, college,community and gallery-based learning:www.ofsted.gov.uk/resources/goodpracticeOfsteds subject professional development materials: art, craft and design November 2012 Slide 2 of 37 3. Overview This resource explores four themes linked to achievement: the quality of teaching, the curriculum, and leadership and management in the subject. It uses commentary from the Making a mark report to prompt self-evaluation and support improvement planning. The themes are relevant to all educational settings and phases, and draw on other Ofsted reports which focused on providers that achieved, sustained or shared outstanding provision and outcomes. These reports are: Twenty outstanding primary schools - Excelling against the odds(090170), Ofsted, 2009; www.ofsted.gov.uk/resources/090170. Twelve outstanding secondary schools - Excelling against the odds(080240), Ofsted, 2009; www.ofsted.gov.uk/resources/080240. Twelve outstanding special schools - Excelling through inclusion(090171), Ofsted, 2009; www.ofsted.gov.uk/resources/090171. Twelve outstanding providers of work-based learning (100112), Ofsted,2009; www.ofsted.gov.uk/resources/100112.Ofsteds subject professional development materials: art, craft and design November 2012 Slide 3 of 37 4. ThemesThe four reports are about very different but equally effectiveeducational settings. However, all make clear the importanceof: focusing on the individual ensuring that expectations are relevant andconsistently high creating the conditions for learners to flourish developing and sustaining external links.These factors contributed to outstanding provision andoutcomes in the different settings inspected. This resourceprompts you to consider how each relates to the subjectnationally and poses questions for you to relate to your owneducational setting.Ofsteds subject professional development materials: art, craft and design November 2012 Slide 4 of 37 5. Focusing onthe individual 6. Focusing on the individual Our survey found that enjoyment of art, craft and design was strong across the age and ability range. This was reflected in high levels of early independence, positive attitudes in lessons, and course take-up that compared well with other optional subjects in secondary schools and colleges. However, not all individuals or groups sustained positive attitudes to the subject over a significant period of time. Discussion points How popular is art, craft and design in your setting? Is the subject more popular with particular individuals or groups? Why? How do you evaluate learners attitudes to learning in the subject?Ofsteds subject professional development materials: art, craft and design November 2012 Slide 6 of 37 7. Focusing on the individualOur survey found that effective teaching promoted positive attitudes in the subject. Forexample, learners:prepared for or followed up lessons conscientiously by researching creativepractitioners thoroughly or maintaining sketchbook skillsparticipated actively in lessons by initiating ideas and working intensively ordemonstrating their skills to their peersexpressed views sensitively about the creative work of others or showed resiliencewhen responding to constructive criticismsustained interest in their work by pursuing the full potential of ideas, media andtechniques, or responded confidently to the unfamiliarshowed strong commitment to optional activities such as a community Big Drawevent or an individual Arts Awardcooperated with their teachers, support staff, visiting practitioners and with their peerswhen working collaboratively.Ofsteds subject professional development materials: art, craft and design November 2012 Slide 7 of 37 8. Focusing on the individual Making a mark reported that children made a strong start in the Early Years Foundation Stage (EYFS) by developing their confidence and creativity through mark-making. However, between Key Stages 1 and 3 pupils lacked confidence in drawing to the detriment of their enjoyment. The notion that everyone can draw was not being kept alive beyond the early years of schooling. Discussion point What are your plans and how effective are your actions to increase learners confidence in drawing?Ofsteds subject professional development materials: art, craft and design November 2012 Slide 8 of 37 9. Focusing on the individualOur survey found that where achievement in drawing was at its best, teachers andsubject leaders:ensured that learners were exposed to a range of approaches to drawing across all keystages and supported progression in learners mark-making as drawinghelped older primary pupils sustain their enjoyment and confidence in drawing as a keyprocesstackled students low confidence in drawing in the early stages of secondary schooloffered exciting reasons to draw which modelled those used by creative practitionersattached importance to drawing in the development of the subject and in theirevaluation of the quality of the provision offered to pupils and studentsrefreshed their own engagement with drawing through professional development,including work with creative practitioners and art galleries.Ofsteds subject professional development materials: art, craft and design November 2012 Slide 9 of 37 10. Focusing on the individual Discussion point Which of the features contributing to confident and creative drawing do you do well and which do you need to develop as a priority? How will you do this?Some of the resources to help you improve the teaching of drawing can be found at:www.drawing-research-network.org.ukMore information about the case studies featured in Making a mark can be found at:www.campaignfordrawing.org.ukOfsteds subject professional development materials: art, craft and design November 2012 Slide 10 of 37 11. Focusing on the individual Other factors contributed to variations in learners enjoyment and achievement. As a consequence, by the end of the statutory National Curriculum in the subject, twice as many girls as boys continued with the subject, and the standards they attained at GCSE were much higher. Although the previous report found that girls started to outperform boys in their creative development early in the EYFS, Making a mark reported that strategies to promote the inclusion of boys were proving effective in primary and secondary schools.Discussion pointsTo what extent do participation and achievement vary between boysand girls in your setting? To what extent have you analysed the reasonsto explain any variation?What are your plans to address this? How will you measure theeffectiveness of these plans?Ofsteds subject professional development materials: art, craft and design November 2012 Slide 11 of 37 12. Focusing on the individualIssue Focus FindingsThe gap What are the The curriculum was broad and embraced art, craft and design.between the contributory Digital media were used alongside 2D and 3D work.highfactors whereachievemendifferent Materials and processes included opportunities to explore tactile qualities.t of girlsgroups oflearners Different research approaches were explicitly taught in lessons.and that ofboys in art,progress Learners created work for a range of purposes, including practical functions.craft and equally well?design is The achievements of female as well as male artists were celebrated.wider than Feedback was regular and systematic and involved direct scrutiny of work.most othersubjects The personal experiences and imagination of learners were valued.nationally. Opportunities to continue work after school were regular. Long periods of coursework were punctuated with short, time-limited activities.The gap What are thestill remains features of The range of drawing techniques taught was narrow, reinforcing learners insecurities; what theyprovision where were possibly best at remained undiscovered.wide inparticularimprovement in Classrooms were uninviting for potentially messy or large-scale work.schools.boysperformance Presentation, particularly of sketchbooks, was emphasised at the expense of content or creativity.remains slow? The work of different artists, craftmakers and designers was rarely used to challenge stereotypes. Choices were made by teachers and rarely by learners. Learners own experiences and imagination had little influence on their work. The responses of different learners to varied stimuli were rarely analysed or used to adapt andmodify planning. Subject matter focused on natural forms and starting points on observation. Learners were expected to use writing as the only mechanism to demonstrate their understanding.Gaps inFocus in your Assessment grades were given without comments or guidance to help learners know how toyour school?improve.school?Ofsteds subject professional development materials: art, craft and design November 2012 Slide 12 of 37 13. Focusing on the individual Discussion points Which of the features contributing to strong participation and performance in the subject by girls and boys do you do well? How effectively do you share your good practice? Which gaps between different groups need addressing most? How will you do this? How will you know that your strategies have worked? How well do you learn from good practice in narrowing gaps between learners?Further information about one of the successful approaches reported thatused contemporary crafts to improve inclusion can be found at:www.craftspace.co.ukOfsteds subject professional development materials: art, craft and design November 2012 Slide 13 of 37 14. Focusing on the individual In schools and colleges, learners that pursued the subject as an option spoke positively about the importance of art, craft and design education. Typical comments emphasised the importance of the subject in helping them to be more reflective, analytical, organised and that participating in cultural activities enabled people to be more observant, appreciative and fulfilled. However, the report also found that enrichment opportunities such as gallery visits or work with creative practitioners was rarely provided for all learners. Discussion points How do you ensure that all learners experience high-quality enrichment in the subject? What do parents and carers think about the relevance of the subject? How well do your policies and practice ensure that all learners understand the wider relevance of the subject?Ofsteds subject professional development materials: art, craft and design November 2012 Slide 14 of 37 15. Focusing on the individualThe report recommended that more learners should be given opportunities to reflect onand develop their roles as emerging artists, craftmakers and designers by working withyounger students and pupils. Opportunities for learners to present work to a wideraudience through exhibitions also brought benefits to the individual, including:deeper reflection on the meaning, purpose and impact of their own work when listeningto others reactionsimproved critical and comparative skills through seeing their work alongside the workof other learners or creative practitionerslearning from ideas and experiences they had not encountered themselvesincreased self-esteem and the determination to respond competitivelylearning to maximise their time in an art gallery, through their involvement in organisingand curating an exhibitionincreased understanding of career opportunities through exhibiting alongside creativepractitioners or in commercial settings.Ofsteds subject professional development materials: art, craft and design November 2012 Slide 15 of 37 16. Ensuring relevant andconsistently high expectations 17. Ensuring relevant and consistently highexpectationsThe survey found too much variation in the quality of teaching. In every phase ofeducation, early expectations were not always high enough. The lack of reliableassessment information or opportunities for learners to share previous workcontributed to expectations which were too low. Discussion points How do you ensure that expectations are pitched high enough? What do you know about learners prior achievements? How effectively do you use baseline assessment?The report refers to the development of the Arts Award as an opportunity to promoteconsistently high expectations of individuals across different settings. Furtherinformation can be found at: www.artsaward.org.uk.Ofsteds subject professional development materials: art, craft and design November 2012 Slide 17 of 37 18. Ensuring relevant and consistently highexpectationsMaking a mark identified the subtle and strategic use of assessment, focused onindividual pupils progress in developing subject-specific skills, knowledge andunderstanding as a feature of highly effective teaching.Other features included:skilful use of visual and tactile resources that stimulated learners curiosity early on andsustained their interest throughouthigh priority given to experimentation with ideas and media, supported by judicious andconfident use of teacher demonstrationopportunities for learners to make decisions about the scale of work, time taken ondifferent tasks and when to move about or ask for guidancereviews of practical work, supported by inspiring examples by other learners or creativepractitioners, showing how to revisit, refine or combine skillsdifficult concepts and language made easy to understand, linking with interests thatclearly fascinated learners and creative practitioners alike.Ofsteds subject professional development materials: art, craft and design November 2012 Slide 18 of 37 19. Ensuring relevant and consistently highexpectations The best early years settings and colleges were particularly successful in meeting learners individual needs through well-designed induction activities. These often focused on learners skills in handling tools and improvising with a range of media, which exposed their wider experiences at home or, later, their understanding of how creative practitioners work. It was no coincidence that in settings where differences between learners were clearly valued from the start, creative diversity was promoted well. Group activity for staff Using a sample of work from a group of learners, analyse the extent to which their individual creativity is expressed. How well do your approaches to...