RapidScopingStudyonLeicesterDramaSchool|FinalReport

December2018

WrittenbyRachelGrangerLeicesterCastleBusinessSchool,LE19BH

Telephone:01162506070Web:www.lcbs.dmu.ac.ukEmail:enquiry@lcbs.ac.uk

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TableofContents 1 Introduction.....................................................................................................................31.1 ContexttotheStudy................................................................................................31.2 ReviewofResearchMethods...................................................................................5

2 TheStrategicContextofUKArts.....................................................................................62.1 TheatreGrowth........................................................................................................62.2 LocalandNationalArtsProvision.............................................................................72.3 TypologyofDramaSchools......................................................................................82.4 Arts-basedEducation...............................................................................................82.5 TheStrategicCaseforArtsSchools........................................................................11

3 KeyFindingsfromtheResearch....................................................................................123.1 RapidEvidenceReview:MappingExercise............................................................123.2 PreliminarySectorConsultations...........................................................................153.3 RapidEvidenceReview:CaseStudy1–Cardiff’sCSR............................................163.4 RapidEvidenceReview:CaseStudy2–JuilliardSchool.........................................173.5 RapidEvidenceReview:CaseStudy3–Brisbane’sMulti-AgencyEcosystem........18

4 ConclusionsandRecommendations.............................................................................194.1 KeyFindings............................................................................................................194.2 UnderstandingtheMarket:ProspectiveDemand..................................................194.3 FutureBusinessNeeds...........................................................................................20

5 Appendices....................................................................................................................215.1 ListofReferences...................................................................................................225.2 ListofPreliminaryConsultations............................................................................245.3 RapidReviewApproach..........................................................................................255.4 Mapping.................................................................................................................26

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1 Introduction 1.1 ContexttotheStudyLeicesterCastleBusinessSchoolwascommissionedbyCurveTheatre,Leicester,toundertakeascopingstudyonthedevelopmentofadramaschoolinLeicester.Thepurposeofthescopingstudyisto:

• ExaminetheexistingliteratureandpolicycontextondramaschoolsintheUK;• Explorewhatiscurrentlyhappeninginthecontextofdramaschoolsandtheirusesin

cities,includinginternationalexamples;and• Outlineoperationalissuesthatmightarisefromthedevelopmentofadramaschool

inLeicester. Thisscopingstudyhasperformedarapidevidencereviewofexistingpolicyliteratureonthepotentialfor,anduseofdramaschools.Therapidevidencereviewapproachprovidesanoverviewofexistingresearchonatopicandasynthesisoftheevidencefromexistingresearchandanyconductedbythestudytoanswerkeyquestions.Itprovidesabalancedassessmentofwhatisalreadyknownandmakingconcessionsaboutthebreadthanddepthoftheprocess,identifieskeyareasforworkgoingforward.Againstthisbackdrop,theteamconductedadesk-basedmappingstudyofexistingdramaschools,examinedinter/nationalcasestudies,andengagedwithasmallnumberofkeyindividualsandorganisationstounderstandthekeyaspectsofthefield.Whathasbeenuncoveredisanationalperformingartssectorastheprimaryareaoffocusexperiencingcontinuedgrowth,consistentwiththeconsolidatedgrowthofthecreativeindustriesnationally.Whilstthereisarecognisedneedtoinvestmoreintheartsinthecomingyearstofeedthisexpansion,thereisalsoarecognitionthatdramaschoolshaveanimportantroletoplayinsupportingthegrowth/maturationofperformingartshubsinkeyculturalcities,tobuildcentresofexcellencenationally.CurrentcentresofexcellenceinperformingartsarelocateddisproportionatelyinandaroundLondon.Thepurposeofdramaschoolsisthree-fold,eachwithdifferenttargetaudiences:

• CareerRoutes–Forsome,dramaschoolsprovideacriticalpathwayintoacareerinperformingarts,helpingtosecureanelusiveplaceatareputabledramaschoolorinstitutionforpost-16learning.Thedifferentactivitiesonofferatdramaschools,whetherasfull-timeplacesorasextra-curricularprovision,areintendedtocreateafoundationofartsskills,individualswillneedtohave,inordertopursueanartisticcareer.

• Cross-CurricularLearning–Dramahasbeenrecognisedasavaluabletoolinmany

subjectareas,helpingtodevelopliteracyskills–supportingspeakingandlistening,extendingvocabulary,andencouragingindividualstoexpressdifferentviewpoints,whichunderpinlearninginavarietyofsubjectareas.Dramafacilitatesacquiringoralcommunicationskillsandaddingefficiencytocommunication.Inaddition,the

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moresensoryorgansanindividualcanusewhilelearning,thegreatertheretentionofthelesson.Itisalsotruethatspeakingskillsacquiredatanearlierage(duringprimaryeducation)havegreaterpermanence,meaningthatwheredramaistaughtatanearlyage,thissupportswiderlearningfortheindividualandcontinuestodosoasthatindividualdevelop(Ulas,2008;BloomfieldandChilds,2013).

• CognitiveandPersonalDevelopment–Dramaandperformingartsnotonlyengages

thecreativesideofthebrainbutalsoprovidesasoundbasisforinterpersonalskills,inter-culturalcommunication,developingconfidenceandresilience,aswellasprovidingaspacetochannelemotionsintoanexpressionofcreativity.Dramathereforesupportsthedevelopmentofwell-roundedindividualsandismorepronouncedwhenintegratedintoschoolcurricula(HuiandLau,2006).Inthissense,creativedramamaybeconsideredamethodoflearning(oratool)forself-expression,aswellasforpersonalgrowthandart(HuiandLau,2006;Ulas,2008;Woolland,2014).

TherapidevidencereviewhashighlightedawiderangeofschoolmodelsthathavebeenpilotedorareinusewithintheUK,withsomeinternationalcasestudieshighlightedtoaidfurtherdiscussion.Muchoftheresearchfocusesontheroleofdramainsupportingyoungerpeople,aged10-18inalocalcatchmentarea,butthereisalsowiderrecognitionoftheroleofsuchschoolsforawider,professionalaudiences.AcommonthemeidentifiedwastheunevengeographyofprovisionintheUK,againstabackdropofworseningprovisionthroughstateeducation.Provisionandinfrastructureforsummerschoolsor‘out-of-hour’dramaandforextra-vocationalsupportforGCSE/keystage4isespeciallypoorintheMidlands.Whencoupledwithagrowthindemandforadditionaldramasupporte.g.tocompensateforworseningprovisionthroughstateeducation,thismaybetakentorepresentasignificantdemandforadditionaldramaservicesinmajorculturalcities.Whilstsomedramaschoolsinitiallyoperatedasstandaloneschools,manytodayofferaprogrammeofactivities,whichincludetertiarytraining,manyofwhichareaffiliatedtolocaluniversities.ThemostsignificantschoolsarealsoendorsedbytheFederationofDramaSchools.TheevidencereviewsuggeststhattherearecurrentlyalimitednumberofschoolsservingEngland’slargestcities(>200,000pop.).Twoareas,whichhavebeenhighlightedthroughthecasestudies,are(i)thepossibilitiesformeans-testedprovisioninareaswithsignificantvulnerablecommunities(asisthecasewiththeWelshCollegeofMusicandDramaandalsoprioritisedthroughUrdangAcademyinLondon),andwhichraisestheneedforsurplusfinancialsupport.Thesecondareahighlightedwere(ii)thefinancialbenefitsthataccruemulti-agencycollaboration,eitherthroughthesharingofcostsforkeyamenities,theuseoffacilitiesforbothcommercialandtrainingpurposes,andtheuseoforganisationstoreachlargeraudiencesand/oraccesstheirserviceinnovations(e.g.Juilliard’scollaborationwithNordAnglia).Thiswouldofferthepotentialforachievinggreaterfinancialreturnsforanewdramaschool,whichmightinturnenableamodelthatservesvulnerableaswellasprosperouscommunities.

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1.2 ReviewofResearchMethodsThisscopingstudyhasincorporatedarapidevidencereviewofexistingpublishedliteratureonthepotentialforanduseofdramaschools.Theresearchteamusedrapidreviewmethodstosearchandcriticallyappraiseexistingresearchandpolicydocumentationtorespondtothekeyaimsofthescopingexercise.SearcheswereundertakenusingbibliographicsoftwaresuchasGoogleScholarandWebofScience,andalsousedsocialmedia,aswellasreviewingweb-basedresearchrepositoriesfromcentresofexcellenceineducationandarts-basedtraining.Afulllistofreferencesispresentedintheappendicesofthisreport.Thescopingstudyalsoincorporatedarapidevidencereviewofexistingschoolstoprovideamappingexerciseofexistingprovision,andinordertoidentifydifferentdramaschoolmodels.Theteamalsoconducteddesk-basedanalysisofcasestudies,manyofwhichareinternational,tosupporttheidentificationofkeymodelsandtodrawkeyfindings.TheseareoutlinedinSection3onmappingandcasestudies.Theteamalsoengagedarangeofindividualsandorganisationstosupporttheprocessofidentifyingcurrentpracticeexamples,andtogaugeexistingdemandandneedsforprovision.Tofacilitatepreliminarysectorconsultations,theteamattendedaworkshoporganisedbyBERA(theArts-basedEducationalResearchGroup)reviewingarts-basedcurricula.BERAisacentreofexcellenceforeducationusingarts-basedconcepts,techniques,andpractice,andmembersconductandshareresearchonavarietyofarts-basedmethodologiesincludingdrama.BERA’s‘ABER’platformisaworking(online)hubforresearchersandpractitionersworkinginartseducation,anditsspecialinterestgroups(SIGs)provideongoingdiscussionaroundkeyareasofeducationandtraining.

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2 TheStrategicContextofUKArts 2.1 TheatreGrowthWhilsttherehasbeenmuchcommentaryonthepotentialgrowthofcreativeindustriesintheUK,especiallyinthecontextoftheirroleintransformingtheeconomy,therehasbeenrelativelylittlestrategicconsiderationonthesupportofthis,otherthanonequalityofopportunities.Severalculturalorganisations,includinggovernment,haveengagedinissuesofnationalstrategicconcernaroundaccesstothecreativeindustriesfordisadvantagedgroups,payandmeritocracy,andaspectsofliminalityandprecariousworking,whilstaspectsofskills–bothdemandandsupply–haveremainedthefocusofdifferentsectororganisations(e.g.theCraftCouncil,theDesignCouncil,Architecture).TheUKCulturalSector(whichincludesvisualaswellasperformingarts,museumsandlibraries)accountsfor674,000jobsandagrowthof24percent(23.6%)since2011(DCMS,2018).TheDCMSestimatesthat283,000jobsarefoundoutsideofmuseums,galleriesandlibrariesandcoverarangeofcommercialandnot-for-profitoperations.Whilstthegrowthofvisualandperformingarts(includingmusic)hasgrownmarkedlyoverthelastdecadeandisthefastestgrowingcreativesectorinthelast2-3years,itshouldbenotedthatthesepercentageincreasesreflectsmallerabsolutenumbersforthesector,andalsoreflectsthecontinueddominanceofLondoninthesector.TheSocietyofLondon’sTheatres(SOLT,2015)revealastrongincreaseinbothticketsalesandincomefrom2015-2018attendanceup5.35%overthelast12months,grossrevenueupby9.35%overthelast12months,andseatoccupancyupthroughout2017to77.5%(SOLT,2018).TheoverallpictureofperformanceartsinLondonisthatLondontheatrescontinuetoenjoyarobustgrowth. “Audiences have yet again demonstrated an ever-increasing appetite for theatre on a scale that plants London theatre front and centre of cultural life. The range of productions on offer, coupled with initiatives to encourage new generations to enjoy live performance, has clearly hit the mark. The value of the investment is measured in pounds but the enrichment derived goes far beyond the numbers of seats sold.“ (SOLT, 2018) Furtherafield,theaggregateturnoverofbusinessinUKartsandcultureindustrywas£12.4bn,includingthewiderbusinessofgalleriesandlibraries,andalsovisualarts(ACE,2013).Overthelast12-24months,UKTheatrerevealsa3percentriseintheatreperformancesbutalsoareductionin(gross)incomeandticketsalesto£467.7mand18.7mrespectively(TRGArts,2018).Inpractice,thistranslatestoarounda£2mdeclineinincomeandadeclineofmorethanamilliontickets(TRGArts,2018).TherearealsoconcerningpatternsemerginginotherareasofculturewithArtsCouncilEnglandreportingafallof16.6millionvisitstoitscorefundedorganisations(NationalPortfolioOrganisations)between2015-2017(ACE,2018).Whilstthemajorityofthisdeclinehasbeenarguedtobeattributabletoclosedexhibitions,theannualreportfor2017-18(ibid)reflectsanuncertainwiderpictureintheartsandculturefield.

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2.2 LocalandNationalArtsProvisionTherearecurrently6,910culturalorganisationsand1,300theatresinoperationacrosstheUK(DCMS,2018;TheatreTrust,2018),and138nationaldramaschoolsoperatingatthenon-tertiarylevel.TheFederationofDramaSchools(est.20171)isagroupof22institutionsthatprovideconservatoire-stylevocationaltrainingforthoseaspiringtobeprofessionalperformers,theatremakersandtechnicalpractitioners,whilsttheAllianceofMusicalTheatreConservatoiresoversee6schoolsandCDMT2ensuresqualityofprovisionbyvalidatingcourses.Inaddition,NISDA3overseemanylocallyrun,independentschools/groups.Therearealsoapproximately75stateacademiesoperatingacrosstheUK,withspecialisminperformingarts,and16independentschoolswithanationalreputationinthearts.Collectively,theseoffermorethanahundredoutletsforspecialisedtraininginperformingarts(seeAppendix5.4).Twothirdsofaccreditedschools(62.5%)operatewithincentralLondon,whilstaquarterofallschools(25.4%)operatewithintheGreaterLondonarea.TherearenocurrentdramaschoolsofthetypeaccreditedbyFSDorAMTC,operatingwithintheLeicestercatchmentareabutthefollowingorganisationsprovidenon-tertiaryarts-basedtrainingexperienceswithinthecity:

• CaboodleArtsCompany• LeicesterCollege• PaulineQuirkeAcademyofPerformingArts• StagecoachNetwork• StarsperformingArtsSchool• YouthMusicTheatreNetwork• LittleTheatre• LeicesterDramaSociety

1 TheFederationofDramaSchools(FDS)comprise12Londoninstitutionsand8regionalschools.AllmemberschoolsmustdemonstrateacommitmenttotheFederation’svisionandcoreprinciples,whichincludeshavingatleastonefull,actingprogrammewithatleast900contacthoursperyear,andensuringthatatleast50percentofgraduatessecureanagentofpaidemploymentwithinayear.

2 TheCouncilforDance,DramaandMusicTheatre(CDDT)providesqualityassuranceforprofessionaldance,dramaandmusicaltheatreindustries.CDMTnegotiateswithgovernmentbodies,aswellasnationalandinternationalagenciesonbehalfofmemberorganisations.

3 NationalIndependentSchools’DramaAssociation(NISDA)isorganisedbyteachers,techniciansandtheatremanagerswhoteachorsupportclassroomdramaintheUKindependentschoolsector.NISDAaimstopromotethestudyandpracticeofdramaandtheatreinindependentschools,andrunssummerconferencesandworkshopstoprovideaffordableprofessionaltrainingandnetworkingopportunitiesforallindividuals.

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2.3 TypologyofDramaSchoolsPresentingatypologyofprovisionintheUK:

• ProfessionalSchools–providingpost-16provision.Thereare24prestigiousdramaschoolsintheUK,endorsedeitherbytheFederationofDramaSchools(FDS)ortheAllianceofMusicalTheatreConservatoires(AMTC),withseveralaffiliatedtouniversities.Someschools,enjoyalonghistoryofprovisionintheartsandhaveaninternationalreputation;actingaskeysitesandcatalystsforprofessionalisationofthearts.Severaloftheseoperatewiththeirownagencies,andhaveestablishedlinkstomajorand/orprestigiousproductionsprovidingadirectroute-intothefield.

• Specialistschools–providingdayorboardingprovision(non-tertiary)toyears7-11

tofacilitatecareersintheperformingarts.Specialistschoolsalsoprovidearangeofrecreationalandvocationalpart-timeprovision,andaresometimesalignedto,orlocatedwithinprofessional(graduate)schools.

• StateAcademies–Somefreeschools(c.75inEngland)providestateeducation

placesforyears7-11withspecialistfacilitiesandroutesintoperformingarts.

• IndependentSchools–Thefacilitiesandinvestmentintheatreanddramaatmanyindependentschoolsareasimportantinproducingprofessionalactorsasspecialistschools.Familiesunderstandthebroadervalueofthisandthecognitiveandcollaborativeskillsashelpfulinanindividual’sdevelopmentandachievement.

2.4 Arts-basedEducationWhilsttherehasbeenmuchcommentaryonthepotentialgrowthofcreativeindustriestotransformtheeconomy,therehasbeenarelativedearthofpolicyconsiderationgiventothegrowthofcreativeskillsinyoungpeople,astheprimaryrouteintocreativeindustries.Overthelastdecade,thenumberofGCSEstakenincreativesubjectshavedeclinedby20percentintheUK(35%inWales,16%inNorthernIreland,and19%inEngland),whilstthenumberofteachersinstateschoolsincreativesubjectshasalsodroppedbyathird,toan‘all-time-low’(BBC,2018;WarwickCommission,2013).Whilstithasbeenacknowledgedthatthedeclineincreativesubjectsinstateeducation,includinghumanities,isalong-termtrend,theintroductionofEBaccin2015(theinternationalbaccalaureate)andchangestothenationalcurriculumsince2010(e.g.theremovalofdramafromEnglish),coupledwiththeintroductionoffinancialandaccountabilitymeasureshasmilitatedcreativelearninginthestateeducationsector. • STEM–TheinclusionandprioritisationofSTEMsubjectssuchasmathsandscience

overarts,design,andmusictechnologyincalculatingleaguetableshaveunintendedconsequencesinmarginalisingtheartsfromstateeducation.During2014-15,therewere116,000fewerentriesatGCSElevelforartsandculturalsubjectsanda50percentdropindesignoverthelastdecade(JCQ,2017),whilstmorerecentdatarevealsaworseningsituation:Between2010and2018,therehasbeenadeclineof35percent

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(or237,955)inthenumberofartsGCSEentries,withtheperiod2017-18recordinga10percentdeclineinartentriesalone,andagainstlessthan1percentdeclineinstudentnumbersforyear11(theyearstudentstakeGCSEs)(CLA,2018).AstheUniversityofSussexreveals,musicanddramahavebeenespeciallyhithardandarenowshowingsignsofdisappearingfromthenationalcurriculumaltogether(KeyStage3).Teachingofthesesubjectsatyears7and8havebeenreduceddramaticallyandthereisconsiderableevidencethatthreequartersofmusicanddramateachersareteachingoutsideoftheircoresubjectstofillgapselsewhere(UoS,2018).

• Drama–Drama’spositionwithinstateeducationhaschangedmarkedlysincethe

announcementandthenintroductionoftheEBacc,leadingsomeschoolstomarginalisedramainto‘afterschool’slots,competingwithsportsactivities.InJune2013,furtherchangestothenationalcurriculumwereannounced,whicheffectivelydroppeddramafromEnglish,muchtothedisappointmentoftheNationalUnionofTeachers(NUT),NationalDramaastheleadingUKprofessionalassociationfordramaandtheatreeducators,andtheCulturalLearningAlliance.FollowingthepatternoffewerartsGCSEentries,itisnowclearthatAlevelstiedtoperformingandexpressiveartsanddance,arealsobeingaffected,withdeclinesofbetween10-26percentinentriesrecordedinthelast12months(CLA,2018).

• Post-16–Itcouldbeargued,thatlackofcreativeprovisionatyear6hasadirectresult

onthetake-upofpost-16creativesubjects.Therehasbeena24percentdeclineinthenumberofAlevelentriesinartssubjectsovertheperiod2010-2018,amountingto29,273fewerAlevelsinthearts(JQC,2018;CLA,2018).Therehavebeen1,000fewerUCASapplicationsforcreativesubjectsdespiteanupsurgeincreativeindustries,whilstithasbeennotedthatfromalltheplacesofferedatOxfordUniversityforstateschoolstudentsin2016and2017,nonehavebeenintheartsandhumanities(BBC,2018).ThepictureemergingthenisofanationalcrisisemergingfromtheprioritisationofSTEMratherthanSTEAMsubjects,whichisbeginningtohaveimpactinshapingtheskillsofourfuturegenerations,andinrestrictingaccessanddevelopmentofartsandculturetofewergroups.

Onaninternationalscale,thepaucityofcreativelearninginstateeducationintheUKraisesquestionsaboutthecapacityforthecountrytosustaininternationalcompetitivenessinthecreativeandculturalindustries,aswellasbroaderintelligencelevels.ThishasbeenreflectedintheinternationalPISAtestscoordinatedthroughtheOECD4,whichsurveysandbenchmarkstheskillsandknowledgeof15-yearoldstudents.ThemostrecentsurveyfindingssuggestthattheUKperformsrelativelywellinscienceandEnglish,butperformsbelowtheinternationalaverageformathsandhasnoscorewhatsoeverforcreativeskills.

4 http://www.oecd.org/pisa/aboutpisa/http://www.oecd.org/pisa/PISA-2015-United-Kingdom.pdf

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Table1-GCSEEntriesinArtsSubjects(2010-2018)

Basedon:CLA,2018

Fig1–GCSEEntriesintheArts,England(2010-18)

Basedon:CLA,2018Table2–AlevelEntriesinArtsSubjects,England(2010-2018)

Basedon:CLA,2018

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2.5 TheStrategicCaseforArtsSchoolsNotallschoolshaveexperiencedthesamedeclineincreativelearning.TheautonomygiventoschoolsandheadteachersinEnglandandWaleshaveenabledsomeschoolstodevelopastrongandbalancedcreativecurriculum,eveninthefaceofsubstantialpolicychangesineducationalaccountability,andwithinacontinuingframeworkofbudgetarypressures.Thatsaid,thereareoverwhelmingnumbersofschoolsinareasofsignificantvulnerabilityre-orientatingtowardsSTEMsubjectstomaximiseleaguetablescores,andwherethesesameareashaveclosedarts-basedfoundationcoursesatFElevel,thisamountstoasqueezeoncreativeindustriestraining;creatinga‘postcodelottery’increativeeducation.Inthemostdeprivedandvulnerableareas,offeringarouteforcreativetrainingwhereyoungpeoplecanfollowtheirpassionsandambitions,excelinskillstheyhave,andprovideanalternativeoutletforachieving,ispreferabletoclosingoffallopportunities. Thereare3mainfactorssupportinganeedforlocalartsanddramaschools:

• SpatialInequality-Someacademiesaspartofthe‘FreeSchools’programme,havecreatedarts-basedschoolstocontinueprovidingabroadandbalancedcurriculum,whilstinotherschools,creativesubjectshavebeensqueezedoutbydelivering‘knowledge-basedcurricula’.WhilsttheDfEareproviding£109mtosupporte.g.musicandarteducationprojectstoaddresssignificantdeclines,thisisnotinallschools/areasandallcreativesectors,creatingunequalaccessacrosscitiesandregionsandineveryrespectadisparateexperience(seediscussionbyMetz,2009).

• Place-Shaping-Insomecitiesandcity-regions,artseducationisbecominganoptional(extra-curricular)development,especiallywhereFEprovisionhasbeenlost.Asaresult,therehasbecomeastrategicneedandresponsibilitytoprovideextraresourcesinareaswithfewoptionsandroutes,asawayofunderpinninganarea’screativeandculturalofferandidentity.Supplementaryprovisionthroughartsschoolsrepresentsapracticalresponsefrompolicymakersandartiststolevel-outthepaucityofprovisioninsomeareas.

• Two-TierSystem-Whilsttheindependentschoolsectorcontinuestorecognisethebenefitsofcreativecurriculaforpersonalandcognitivedevelopmentinyoungpeople,andmorerecentlyasapositivecontributiontotacklingissuesofwell-being5,thelackofequivalentprovisioninmanystateschoolsisquicklyleadingtoatwo-tiersystemofcreativearts-basededucation,whichiscompoundedbythecostsofextra-curricularactivities(especiallyforlow-incomefamilies).TheWarwickCommission(2013)findsthatwhilethreequartersofparents(76%)reportchildrentakingpartregularlyinartsclubsandculturalexperiencesoutsideofschool,itnotesthesignificantcostsassociatedwiththem.Investmentinlocaldramaschoolscanbeseenasacriticalresponsetothesqueezingofcreativeprovisiontoanythingotherthanthemiddleclassesbutisalsolikelytobetaken-upbyhouseholdswithsufficientdisposableincome.

5 Ithasbeenreportedthat‘levelsofsubjectivewellbeingarehigheramongstthosewithhigherartsandcultureengagement’andthatstudentswhostudyartsare‘morelikelytoremaininemployment’(ACE,2014).

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3 KeyFindingsfromtheResearch 3.1 RapidEvidenceReview:MappingExerciseThereare24accredited‘dramaschools’intheUK,themajorityofwhicharebasedwithin,orwithincloseproximitytoLondon.Theseschools,whichareaccreditedbytheFederationofDramaSchoolsandinsomecases,arepartoftheAllianceforMusicalTheatreConservatoires,areseenasbeinginternationallyleading,withanationalandinternationalclientbase. Table3–AccreditedUKDramaSchools(2018)

Inadditiontotheseleadingschools,thereareseveralstate-fundedandindependentschoolswithaspecificfocustowardsthearts,whichprovidedayprovisionforyears4-11(e.g.SylviaYoung),withroutes-intoleadingschoolsprovidingtertiaryartsprovision.Therearealsoseveralindependentschools,whichdonotdealwiththeartsdirectlybutwhosecreativeprovisionor‘artsstream’arenotableandinsomecasesaward-winning(TES-Creative6).Collectively,theseprovideawealthofroutes-intotheartsintheUK,providingdifferentpart-time,vocational,qualified,andintensiveprovision.16schoolsprovidespecificpart-time(youthandvocational)andsummerschoolactivities,aspartoftheircoreprovision(Table4)buttwo-thirds(66%)ofthese,arebasedwithintheGreaterLondonarea;restrictingprovisiontoonepartoftheUK.Inmanycases,themodelofferedbyschoolsisacoreofadultand/oryouthdrama/artstraining,supplementedby1-weekmasterclassesorsummerschoolsofferedatweekendsorduringschoolholidaysforayoungeraudience.Somecompaniesofferdedicatedyouththeatresorstudios(e.g.London,Cardiff,Exeter)buttherearecurrentlynodedicatedyouththeatresindramaschoolsservingtheMidlands7.

6TES-https://www.isawards.co.uk/2019/en/page/shortlist7Seealsohttps://www.summer-schools.info/performing-arts

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WiththeexceptionofBristol‘OldVic’,whichprovidesa10-weeksummercourse,dramaschoolsofferlimitedsummerschoolactivity,withnomorethan1,1-weeksummerschoolofferedforeachholidayperiod,andwithrestrictedplaces(upto50).Assuch,themajorityofincomefordramaschoolscomesfromterm-basedactivitythroughprogrammedday,evening,andweekendclasses.

Table4–SummerSchoolsandPartTimeProvisionthroughArtsSchools(2018)

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3.2 PreliminarySectorConsultationsInterviewswereconductedwith3stakeholders,twoworkinginhighereducation(onewithanationalremitineducation).AnotheroperatedintwocapacitiesinMidlands-basedschools(oneindependent,onestate-run).Thekeyfindingsfrompreliminaryintervieweeswere:

• AllintervieweesemphasisedthecurrentgeographyofprovisionintheUKwithregardstoperformingarts,withoneintervieweecommenting“The map of arts-based provision in the Midlands is at best stark, regardless of whether families are paying for, or relying on state provision. This does not stand us [the Midlands] in good stead…in terms of equipping future generations with the right skills”.

• Allintervieweesagreedthatthebenefitsofarts-basedtrainingand/oreducationat

ayoungagewasinherentlybeneficialintermsofcognitiveandpersonaldevelopment.Oneintervieweenoted“It has long been accepted in the independent sector that arts training in its different guises equips individuals with a broad set of skills that underpin intelligence rather than learning by rote in STEM subjects. It also builds bridges to other subject areas, as well as providing a broader competence or what we might refer to as ‘life skills’. My concern is, these same experiences or opportunities are being denied to the masses, who either cannot afford private tuition or live outside of the London conurbation.”.

• Twointervieweesreflectedontheirownfamilyexperiences,withoneinterviewee

noting“My sister relocated nearer to London and the South East to benefit from a richer provision of extra-curricular activities in the arts. Dance and music was important for them. Accepting that independent schooling was not an option, they made the conscious decision to move closer to evening and weekend schools, to provide the right sort of cultural richness they wanted in their young children’s development”.Thiscomparestoanotherintervieweewhoremarked“Whilst the provision for extra-curricular activities are certainly greater in London and the bigger cities, the price of this and the sheer competition for places is also more significant. How often do we hear friends talking about ‘waiting lists’ and making reservations a year in advance for kids to get on summer programmes?”.

• Whenasked,intervieweesagreedthattherewasaneedforadditionalprovision

nation-wide,notonlytoaddressconcernsaboutequityofprovision,butalsoasareflectionofthecurrentdemandsforextra-curricularculturalactivities.“The appetite for leisure-based cultural learning is currently very high, and while I appreciate that this is a reflection of local disposable income, I can see that any self-respecting ‘cultural city’ needs to have such provision…if it’s to be taken seriously”.

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3.3 RapidEvidenceReview:CaseStudy1–Cardiff’sCSRhttp://www.rwcmd.ac.ukTheRoyalWelshCollegeofMusicandDramawasfirstestablishedin1949andhasbeenrankedasthebestdramaschoolintheUKfor4thconsecutiveyear(TheGuardian,2018).PartofthewiderUniversityofSouthWalesGroup,theCollegeprovidesawide-rangingprogrammeofworkthatcoversCardiff,Newport,andPontypriddaswellasPembrokeshire;providingawidecatchmentareaintheSouthandWestofWales.Italsoservesanationalandinternationalmarketasaninternationalconservatoire,with1,000placesforworld-classtalentinarangeofmusicandperformingartssubjects.TheCollegeisaperformingartscentreinitsownrightwithaprogrammeofmorethan300publicperformanceseachyearincludingorchestral,drama,operatic,andmusicaltheatreperformances.TheCollegeboastsfacilitiestomatchitsworldclassreputation.Inadditiontothewiderangeofhighereducationprovisioninacting,musicaltheatre,music,singing,andartsmanagement(atundergraduate,postgraduate,andresearchlevels),theCollegealsoprovidesanimpressiveprogrammeofyouthandcommunityactivities.TheJuniorConservatoireprovidesextensivemusictrainingatweekendsforages4-18(MiniMusic,MusicFirst,Advanced)withprovisionforone-to-oneadditionaltraining,whilstitsYoungActorsStudio(YAS)providesarangeofactingandtheatreworkshopsforages11andup.TheYASprovidesweekendtraining(in2locations)forimprovisation,text,movement,voice,AlexanderTechnique,actingthroughsong,actingforcamera,andwitharangeofshortermasterclassesandsummerschoolcoursesfor11-18andadultgroups.TheYASissupportedbyValero,thepetrochemicalmultigiant,whohaveoperatedthePembrokeRefinerysince2011,andwhoselocalcorporatesocialresponsibilityenablesaccesstothecollegeforlow-incomegroups(throughmeans-testedfinancialsupport).AstheCollegeargues“The Young Actors Studio is committed to giving every young person aged 11-20 with a passion for theatre, the opportunity to benefit from the specialist drama training delivered by RWCMD, regardless of experience or financial means”.MorethanhalfofcurrentstudentsreceivefinancialassistancethroughtheValero-supportedbursaryscheme.ThroughValero’scorporatesocialresponsibility,theRWCMDhasbeenabletobalancethedesiretoextendopportunitiestolow-incomecommunitiesofSouthandWestWales,withthefinancialimperativesofdevelopingacentreofexcellenceintheartsthatunderpinsCardiff’sclaimofbeingaculturalcity.

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3.4 RapidEvidenceReview:CaseStudy2–JuilliardSchoolofCommunityEngagementandCustomisedLearning

https://www.juilliard.edu/juilliard-all

https://www.nordangliaeducation.com/teaching-and-learning/enriched-curricula/performing-arts-with-juilliard TheJuilliardSchool,locatedinNewYork,isoneoftheworld’srenownedmusicschoolsandasaresult,ishighlyselectivewithonly6percentofapplicantsadmitted.LocatedintheLincolnCenterforthePerformingArtsontheUpperWestsideofManhattan,itisaperformingartsconservatoireestablishedin1905.Juilliard’scommunityengagementprogrammesbenefitdiverseaudiencesbysharingthetalentsofJuilliardstudentsthroughteachingandperformancesinvulnerablecommunities.ThroughitsownOfficeofCommunityEngagementandoperatinginmuchthesamewayastheDMULocal/SquareMileproject,JuilliardarrangesperformingandstudentteachingpartnershipswithorganisationsandpublicserviceprogrammesthroughoutNewYork(andbeyond).Typically,thesetaketheformofteachingandinteractiveperformanceprogrammeswithindividualandgroupinstructioninclassicalandjazzmusic,dance,andtheatre.TheSchoolalsoorganisesaSaturdayMusicprogrammeprovidinginstructionandmentoringto“underserved”8-14yearolds.Whilstknownprincipallyasaninternationalcentreformusic,itsprogrammeofcommunityengagementhasbeenusedmorewidelyasanexampleofgoodpractice.ItsinternationalreputationhasbeenusedtoextendthereachofitsworktobeyondNewYorkbyactingasananchorforperformingartstrainingthroughitscollaborationwithNordAngliaEducation(NAE).TheJuilliard-NordAngliaPerformingArtsProgrammeisacollaborationaimedatcreatingaperformingartseducationcurriculumforgradesK-12.TheprogrammebringstogetherJuillliard’sphilosophiesofteachingdance,dramaandmusictoNordAnglia’s56classroomsin27countriesaroundtheworld,includingonlineprovision.NordAnglia’sinternationalprogrammesprovideacriticalmassofamenitiesfromwhichbespokeprogrammescanbeconstructed–drawingfromdayprovisioninitsclassroomsin27countries,programmedsummerschools(e.g.fordramainGeneva,Shanghai,andFlorida),andblendingthiswithdistance-ande-learningmaterials,aswellasone-to-onementoringandtuition.Theprogrammesseektoinspireandequipstudentswiththeskills,curiosity,andawarenesstoengagewiththeperformingartsthroughouttheirlives,whilstprovidingcustomisedprogrammesthatsuittheindividualandtheirgoals.TheprogrammeusesJuillliard’s“CreativeClassroom”,anonlinecollectionofeducationalresourcesthathavebeendesignedtoenhanceandsupplementartscurricula,whilstitsalumniaredrawnupontoprovidesupplementarycoaching,andartistvisits.TheJuilliard-NordAngliamodelhighlightsthepossibilitiesforalternativelearning,whichcantakeplaceoutsideofthetheatreormusicroom,andenabledbystakeholdercollaboration.Itprovidesanexampleofthinkingdramaprovisiondifferently.

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3.5 RapidEvidenceReview:CaseStudy3–Brisbane’sMulti-AgencyEcosystemProvision

https://qaci.eq.edu.au/Pages/default.aspx https://www.qut.edu.au/courses/bachelor-of-fine-arts-acting Brisbaneisaninternationalculturalandcreativecity.TheQueenslandCulturalCentre,locatedatSouthBank,istheculturalhubofBrisbaneandoneofthemostimportantculturalecosystemsinAustralia.TheQueenslandCulturalCentrecontainstheQueenslandMuseum,theQueenslandArtGalley,theQueenslandGalleryofModernArt,theStateLibraryofQueensland,QueenslandWritersCentre,GOMA,andtheQueenslandPerformingArtsCentre.TheQueenslandUniversityofTechnology(QUT)occupiesacentralpositioninBrisbane’sSouthBank(GardenPoint),andinrecentyearshasinvestedinthedevelopmentofadedicated,multi-agencycreativecampusatKelvinGrove,1-2milestothewest.TheKelvinGrovecampushoststhefacultiesofcreativeindustries,education,health,andinnovationservices,aswellasitsQUTCreative(Industries)LabandDesignLab.ItsCreativeIndustriesPrecinctcomprisesseveralpublicartsandexhibitionspaces,theRoundhouseTheatre(Australia’sonlytheatreintheround),theLaBoiteTheatreCompany(acommercialandtrainingtheatre),anexperimentalblack-boxtheatre,interactiveexhibitionspaces,multi-medialabsandspaces,publicartworkexhibitionspaces,aswellasuniversity,college,andstateeducationfacilitiesincreativeindustries.Thecreativecampuswasconstructedfrom2004onwardsatacostof$60mafterthedecommissioningoftheGonaarmybarracksonthesite,andtooktheformofatripartiteagreementbetweentheQueenslandDepartmentofHousing,BrisbaneCityCouncilandtheQueenslandUniversityofTechnologytoredeveloptheareaasamixed-useprecinctcombiningeducation,cultural,andpublic/retailuse(integratingtheuniversitywiththecommunity).QUT’suseoftheprecinctforitscreativeprogrammesandresearchhasbeencomplementedbytheco-locationoftheQueenslandAcademyforCreativeIndustries(QACI)from2007,aselective,publicseniorhighschoolforstudentsspecialisinginthearts,andtheKelvinGroveStateCollege.QACIisanindustrystandardschool,whichboastsitsownartgallery,filmeditingstudios,agreenroom,visualartstudios,amusicrecordingstudio,ablackboxtheatrestudio,and360-seatperformancetheatre.ThemusicrecordingstudioisrunbyacompanyLot17Studios.Theco-locationofkeycreativestakeholdersinthearea,includingfeederprimaryschoolshasresultedinco-designofprovision,andjointfinancingofkeyamenities.Thishasintroducedstrongerfinancialviabilityintodifferentorganisationsandtheactivitiesattheprecinct,whosecontinuedgrowthareimportantforrealisingtheState’sambitionto‘fosterknowledge,creativity,andinnovation’withinonelocation.TheBrisbane/KelvinGrovecasestudythereforeservestohighlightthefinancialandoperationalbenefitsofmulti-agencymodelsofprovision.

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4 ConclusionsandRecommendations4.1 KeyFindingsThisrapidevidencereviewhashighlightedarangeofdramaschoolmodelsthathavebeendevelopedwithinthecreativeindustries,toserveperformingartsbroadlydefined.Onearea,whichhasbeenhighlightedwithinpreliminarystakeholderconsultationistheneedandunevengeographyofcurrentartsprovisionintheUK–identifyingapotentialshortfall–foryounggroupsasaresultofchangesinthenationalcurriculum.TheisespeciallypronouncedintheMidlands,wherethereiscurrentlylittleextra-curricularprovision.Asecondarea,whichemergedfromtherapidreviewwastheextensiveprovisionofsummerschools;usedasafinancialmodelforgeneratingadditionalincomeforsomeschools,andinothersprovidingameansofdevelopingroutes-intotheirmainstreamFE/HEorprofessionalprovision.Thereviewofsecondaryresources,includingpolicyandresearchpapers,identifiedastrategicneedfordramaschools,tocompensateforthepaucityofartsinthenationalcurriculum.Thiswasheightenedinvulnerableareas,inwhichtherearelow-incomecommunities,adownscalingofFEprovision,andanincreasedtendencyforstateschoolstore-orientatetowardsSTEMsubjectstomaximiseleaguetablepositions.Basedonthis,anddrawinguponLeicester’sowncharacteristics,itcouldbearguedthereisaneedforadditionaldramaprovisioninLeicestertoserve:

• Children,especiallyfromdiverseculturalbackgrounds,withaninterestinartsbutcurrentlyunder-servedbythenationalcurriculum;

• Childrenfromvulnerablecommunities,experiencinglowacademicabilitiesand/orinabilitytoaccessextra-curricularartsprovision;

• Childrenfromhigh-achievinghouseholds,inwhichartslearningprovidesanadditionalrepertoireofskillsets;

• Adultswithapassionorskillinthearts,seekingpart-timeopportunitiestolearnartsasapastime;and

• AdultsworkingintheartsinLeicesterortravellingtoLeicesterasacentreofexcellenceinarts,withaneedforcontinuingmasterclassprovisione.g.graduatesstayinginLeicester.

4.2 UnderstandingtheMarket:ProspectiveDemandOneofthemainlimitationsofthisrapidreviewhasbeenthelackofanalysisofcurrentandprospectivedemandforadditionaldrama/artsprovision.Whilstadramaschoolmayserve5keyaudiences,asnotedabove,furthersurveyresearchwouldbebeneficialtoassess:

• Currentdemandandsupplyforarts-basedtrainingthroughexistingLeicesterprogrammes,includingtheexistingshortfallinprovisionforyouth,adult,andparttimeaudiences;

• Understandingoftheuserexperience(includinguseracceptanceof‘dramaschools’);

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• Thepotentialcatchmentarea,includingcontingentvaluation(statedpreferences)ofLeicester’s‘draw’fromitsculturaloffer(i.e.toassesshowfaraudienceswilltravelandhowmuchtheywillpay);

• Potentialnichesforarts-basedlearningnotcurrentlyprovidedwithinLeicesterorganisationsorwithintheMidlands;and

• ThepotentialforcollaborativeprovisionfromLeicester’sexistingstakeholders(istheresufficientevidenceforawiderroll-outofadramaschooltosupportexistingprovision?).

4.3 FutureBusinessNeedsTheauthorsconcludethatthereisaneedtobetterunderstandthepossibilitiesofusinganapproachthatembedsthepotentialgrowthareasidentifiedinSection4.1butwithinaviablefinancialmodel.Indevelopingaviableoptionandroutetomarket,werecommend:

§ UniversalModel–Developactivitiesinitiallyaspartofotheruniversalservicessuchasschoolorthroughmainstreaminstitutions/servicessuchassports,youthclubsetc.Thiswouldenableabaselineofaffordableserviceactivitytobedevelopedwithoutincurringsite-levelcosts,andwhichwouldbeavailabletoallfamilies,andthroughwhichprospectivedemandmightbegenerated.Targetingselectivefamiliesandatanearlystageofdevelopmentwouldcutoffvitalroutestofinance,neededforfuturegrowth,whilstdeliveringsolelyon-sitewouldincuradditionalcapitalandrevenuecosts.

§ Multi-audienceModel–Developaprogrammeofactivitiesthatservearangeof

audiences(i.e.youth,adult,evenings,weekends,summer).Whilstmanydramaschoolsaspiretobecomeconservatoires,withselectiveroutes-in,whichlimitcoursenumbersandteachingsmallgroups,thiscreatespressureonincome-generationthroughoneroute,leadingpossiblytofinancialinsecuritieswherethatroutefails.Bycontrast,theideaofanensemble(literallyworkingtogether)isacollaborativeartform,whichstressestheimportanceofcollaborationinachievingexcellence.Drawingonthis,developingcollectivetrainingthatismorevocational,andwherethetrainingismorepractical,wouldbringafocusondramabeingaboutdoingandbeing,andthereforewouldhavebroaderappealandtake-up.Anensemblemodelwithastrongactivelearningandvocationalroute,aswellasservicesdesignedforyouthandextra-curricularactivitiesprovidesabroadportfolioofworkthatlimitsriskandmaximisespotentialfunding.

§ Multi-agencyModel–DevelopanewdramaschoolthroughtheLeicesterCultural

Ecosystem,ratherthanindependentlyofit,asawayofsharingriskanddevelopingafinanciallyviablemodel.Giventheexisting‘cultural’provisioninLeicesterandLeicester’sexistingreputationasaculturalcity,werecommenddevelopingadramaschooldrawingontheexistingroutes-inandroutes-outchannelsdevelopedbystakeholders,andthroughcollaborativearrangementsthatmaximisereachbutminimiserisk.

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5 Appendices

5.1-ListofReferences5.2–ListofConsultations5.3–RapidReviewApproach5.4–MappingofDramaSchools

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5.1 ListofReferences ACE(2013)TheValueofArtsandCulturetoPeopleandSociety.AnEvidenceReview.ArtsCouncilEnglandhttps://www.artscouncil.org.uk/sites/default/files/download-file/Value_arts_culture_evidence_review.pdfACE(2015)ContributionoftheArtsandCultureIndustrytotheNationalEconomy.ReportbyCEBRtoArtsCouncilEngland.https://www.artscouncil.org.uk/sites/default/files/download-file/Arts_culture_contribution_to_economy_report_July_2015.pdfBBC(2018)ArtsEducation,onFrontRowchairedbyStigAbell,BBC,14November2018,SoarValley,Leicesterhttps://www.bbc.co.uk/programmes/m00013vsBloomfield,A.andChilds,J.(2013)TeachingIntegratedArtsinthePrimarySchool:dance,drama,music,andthevisualarts.Oxon:DavidFulton/NewYork:Routledgehttps://www.abebooks.com/9781853466601/Teaching-Integrated-Arts-Primary-School-1853466603/plpCIC(2018)CulturalInfographics.http://www.thecreativeindustries.co.uk/industries/arts-culture/arts-culture-facts-and-figures/arts-infographics#CLA(2018)FurtherDeclineinArtsGCSEsandAlevelEntrieshttps://culturallearningalliance.org.uk/further-decline-in-arts-gcse-and-a-level-entries/DCMS(2018)SectorEconomicEstimates,2018.July2018,ONShttps://www.gov.uk/government/statistics/dcms-sectors-economic-estimates-2017-employmentHui,A.andLau,S.(2006)DramaEducation:AtouchofthecreativemindandcommunicativeexpressiveabilityofelementaryschoolchildreninHongKong,ThinkingSkillsandCreativity,1(1),pp34-40https://www.sciencedirect.com/science/article/pii/S1871187105000040Independent(2013)Aredramaschoolsjustforthemiddleclasses?9October2013.https://www.independent.co.uk/news/education/schools/are-drama-schools-just-for-the-middle-classes-8869810.htmlJCQ(2017)JointCouncilQualificationshttps://www.jcq.org.uk/examination-results/gcsesMetz,H.M.(2009)RealSchool:Auniversaldramaamiddisparateexperience,inPoliticsofEducationAssociationhttp://www.politicsofeducation.orgPayler,J.,Georgeson,J.andWood,E.(Eds)(2017)BERA/TACTYCAcademicReviewofEarlyChildhoodEducation2003-16.London:BERA

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SOLT(2015)BoxOfficeDataReport,2014.SocietyofLondonTheatre.https://solt.co.uk/about-london-theatre/facts-and-figures/SOLT(2017)BoxOfficeDataReport2016.SocietyofLondonTheatrehttps://solt.co.uk/about-london-theatre/facts-and-figures/SOLT(2018)SocietyofLondonTheatrehttps://solt.co.uk/about-london-theatre/facts-and-figures/TheatreTrust(2018)TheatreDatabasehttp://www.theatrestrust.org.uk/discover-theatres/theatre-faqs/167-how-many-theatres-are-there-in-the-ukTheStage(2018)TrainingInstitutionshttps://www.thestage.co.uk/training/institutionsTRGArts(2018)GrowingTicketRevenueandAccessibility.https://www.trgarts.comUoS(2018)MusicEducationatSignificantRiskofDisappearing,SchoolofEducationandSocialWork,UniversityofSussexhttps://www.ism.org/news/new-uni-of-sussex-research-music-risk-disappearing

Ulas,A.H.(2008)EffectsofCreative,EducationalDramaActivitiesonDevelopingOralSkillsinPrimarySchoolChildren,inAmericanJournalofAppliedSciences5(7),pp876-880

UNESCO(UnitedNationsEducational,ScientificandCulturalOrganisation)2006.Strongfoundations:earlychildhoodeducationandcare.EFAGlobalMonitoringReport.Paris:UNESCO.

UNESCO(2010)WorldConferenceonearlychildhoodcareandeducation.Conceptpaper:Buildingthewealthofnations.Availableat:http://unesdoc.unesco.org/images/0018/001873/187376E.pdf[AccessedMay11,2016]

WarwickCommission(2013)TheFutureofCulturalValues.WarwickUniversity. Wood,E.(2013)ThePlay-PedagogyInterfaceinContemporaryDebates,inBrooker,E.,Edwards,S.andBlaise,M.(eds)TheSageHandbookonPlayandLearning.London:SageWoolland,B.G.(2014)TeachingofDramainthePrimarySchool.London:Routledge

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5.2 ListofPreliminaryConsultationsAsummaryofpreliminarydiscussions:

• ElizabethWood-BERA,London(SchoolofEducation,UniversityofSheffield)https://www.sheffield.ac.uk/education/staff/academic/ewood

• BrianCheney-TheKingsleySchoolLeamington,BoardofGovernorsAvonValley

SchoolforPerformingArtsRugbyhttp://www.thekingsleyschool.co.uk/http://www.avonvalleyschool.org

• SophinaJagot–At-Bristol/WetheCurioushttps://www.wethecurious.org,

IndependentCulturalReviewerCultureCentre(G37DanceandMusicCentre)https://culturecentral.co.uk

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5.3 RapidReviewApproachTheprimaryapproachundertakeninthisrapidscopingreviewhasbeen:

• LiteratureReviewandPolicyAssessment• Desk-basedAnalysisofResearchRepositories• MappingExercise• CaseStudyAnalysis• PreliminarySectorConsultation• OptionDevelopment

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5.4 MappingAmapoftheUK’sdrama(school)provision.