GROWING FUTURE INNOVATORS. A new approach to learning programs for young people. By Dr Julie Robson and Dr Luke Jaaniste

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1 GROWING FUTURE INNOVATORS A ew approach to learig programs for youg people By Dr Julie Robso ad Dr Luke Jaaiste A scopig study through Edith Cowa Uiversity i partership with the Perth Istitute of Cotemporary Arts with the support of The Fogarty Foudatio Released August 2010

2 Published by Edith Cowa Uiversity 2 Bradford Street, Mt Lawley Wester Australia 6050 ISBN: Copyright 2010 Julie Robso Luke Jaaiste A copy of this report ca be accessed from ad Desiged by Key2desig Cover image: The Elastic Frotiers project with artist Da Shipsides. Photograph by Adam Farady, courtesy of Arolfii, Bristol, UK.

3 Executive summary Growig Future Iovators is a groud breakig ew project that examies how cotemporary arts istitutios ca work with schools to educate for iovatio. Historically, coectios across these domais have ot bee readily ackowledged let aloe celebrated, however, may fruitful itersectios are beig explored betwee iovatio (ew ideas ad chage), arts (creative-cultural egagemet) ad educatio (teachig ad learig). The dyamics of iovatio Iovatio is about fosterig ew ideas ad ways of doigs thigs that lead to greater civic, ecoomic ad cultural prosperity ad wellbeig. While iovatio is as old as humaity itself, awareess of its public value has grow steadily over the last cetury, ad iovatio is icreasigly cited aroud the world as key to addressig our curret ad future challeges ad opportuities. I Australia, iovatio has bee a overt preoccupatio of atioal policy makers from the 1990s oward. It was most recetly re-examied i the federal govermet s Review of the Natioal Iovatio System ad Veturous Australia report i 2008, both of which culmiated i the govermet s Powerig Ideas ageda paper i Historically, there has bee a arrow sciece ad techology focus withi iovatio policy. This is ow expadig, however, as other domais ad stakeholders begi to egage ad cotribute. The rise i debates aroud creativity ad the creative idustries has, for example, see ideas withi the arts ad humaities chage the way we ca imagie the iovative workplace, classroom ad commuity. Cosequetly, cotemporary theoretical frameworks are beig elaborated to icorporate multiple dimesios ad types of iovatio. The cycle of iovatio is the term used to describe the process of geeratig, applyig ad dissemiatig kowledge ad ideas. The cycle of iovatio is fostered by our iovatio system, a varied etwork of people, orgaizatios ad policies that support ad regulate aspects of iovatio activity, ad which i tur is highly iflueced by a society s wider educatioal ad cultural milieu. Ultimately, the goal of iovatio-focused policy ad programs is to icrease the capacity of the iovatio system so that we ca be more iovative, more of the time. The role of educatio i iovatio The educatio sector ca foster iovatio by developig the skills ad values required for a iovative workforce ad society. While educatio aloe caot produce a more iovative society, formal ad iformal opportuities for learig have a sigificat part to play i buildig iovatio cultures ad capacities. Educatig for iovatio is the resposibility of may but the cotributio of schools is especially crucial. Their reach across society ad their ivolvemet i the early years of learig makes them vital. I may parts of the world, schools are recogizig that iovatio is a essetial part of 21st cetury learig. Further research o how to pragmatically implemet this ageda is, however, ow a priority. The core competecies of iovatio that educatio ca cultivate have bee idetified as creativity, self-efficacy, eergy, risk-propesity ad leadership. While iovatio skills, it is argued, ca be developed i everyoe ot just the extremely taleted or those i certai subject disciplies, desigig the delivery, assessmet ad measuremet of programs that reliably foster these is likely to be a major project for years to come. Growig future Iovators: a scopig study 1

4 Educatig for iovatio i schools depeds strogly o the rage of people ad practices that forge the health ad creative ecology of the school itself. Notably, there are structural weakesses at the very heart of schoolig systems ad policy iitiatives, may of which are revealed as beig outdated ad archaic. Eve without major atioal reforms i educatio, however, a paradigm shift i teachig ad learig is occurrig. Withi the 21st cetury educatio paradigm, teachig ad learig is framed as iheretly a partership edeavor, oe that is based o persoalized relatioships ad flexible, reciprocal etworks. Studet-teacher relatioships, it is ecouraged, ca be based o co-learig dyamics ad supported by a rage of iteral ad exteral school parters, icludig peers, families ad commuity orgaizatios. Extra-curricula opportuities ca also be the preferable ad more realistic cotexts for iovatio learig, ad ew digital techologies are aother sigificat eabler. As suggested by Kirklad ad Sutch (2009), a school s capacity ad support for iovatio is usually determied by seve factors: perceptios of iovatio itself; the health of a teacher s social etwork; levels of risk aversio amogst staff ad studets; the ature of the formal school eviromet; the type of leadership style; the existece of a shared visio; ad processes for maagig chage. Barriers to iovatio are thought to be more successfully overcome whe schools fid local solutios rather tha waitig for the implemetatio of top-dow strategies or blaket policies. Additioally, it will be essetial to draw o the support of various etworks ad parterships i learig. Cotemporary arts istitutios ad educatig for iovatio I spite of the growig cotributio of the arts sector to iovatio agedas, explicit liks betwee arts educatio ad iovatio (as opposed to creativity) are still largely uder-explored i policy ad research. Arts educatio, however, is icreasigly valued ad recogized for improvig achievemet levels i youg people as well as providig a more holistic approach to learig. This recogitio prevails i a time whe cultural istitutios seek to be of value to a wide rage of audieces, with childre, families, teachers ad schools becomig icreasigly prioritized visitors. As cultural istitutios become more dedicated ad iclusive sites for formal, iformal ad lifelog learig, uderstadig their cotributio to educatio for iovatio is ripe for exploratio. Their dyamic programs ca be so demadig to implemet that rigorous logitudial evaluatio ad research is rarely possible without additioal resources ad support. Seve ways cotemporary arts istitutios ca coect schools to iovatio Drawig o iterviews with 18 major cultural orgaisatios from Australia ad the Uited Kigdom, this report has foud seve associative liks to describe the ways that cotemporary arts istitutios ca coect schools with iovatio. I short, cotemporary arts istitutios ca: coect schools to artistic iovators ad iovatios (cotet about iovatio); provide schools with access to, ad experimetatio with, ew media techologies ad a rage of other iovative products ad processes (methods for iovatio); help schools to cultivate iovatio attitudes ad competecies such as creativity, self-efficacy, eergy, risk-propesity ad leadership (the dispositios of iovatio); develop iovative ad arts-itegrated approaches to teachig ad learig that eergize ad expad curricula ad pedagogies (pedagogies for iovatio); broker ad build parters ad relatioships for supportig iovatio that are log-term, reciprocal ad persoalized (parterships for iovatio); embody ad exemplify iovative practice through orgaisatioal maagemet ad busiess operatios (istitutioal practices of iovatio); critically frame arts ad cultural activity withi the cotext of wider iovatio cotexts ad philosophies of chage (the cotexts of iovatio). 2 Growig future Iovators: a scopig study

5 Roo Full Moo - Luke Davey, take at Pumu. Photo courtesy of AWESOME Arts Recommeded ext steps Based o the review of literature, policy ad practices covered i this report, the overarchig recommedatio is to forge stroger iterdiscipliary parterships that ca educate for iovatio. Researchers, school costituets, cotemporary art istitutios ad other stakeholders should seek to create reciprocal learig etworks that are joitly focused o iitiatives that icrease iovatio cultures ad capacities. Optimally, iitiatives would be desiged i respose to local cotexts, challeges ad ideas, ad draw o the available resources of the combied partership. Research ito these iitiatives should, where possible, employ a logitudial approach to trialig ad testig, so as to cotribute better to policy developmets ad wider arts, iovatio ad educatio discourses. Additioally: Researchers ca develop a clearer profile of the arts ad cultural iovator; desig more robust tools to measure iovatio competecies; make liks to iovatio withi the ew atioal curriculum framework; ad grow uderstadigs of how iovatio cultures ad competecies ca be forged i extra-curricula experieces as well as the classroom. Schools ca critically reflect o their capacity to support the iovatio ageda; parter ad diversify their meas of egagemet with cotemporary arts istitutios; develop stroger 21st cetury learig eviromets that support the cultures of iovatio; facilitate kowledge trasfers beyod arts fields ad curriculum cotexts. Cotemporary arts istitutios ca actively promote the laguage ad exemplars of iovatio i the arts; provide youg people ad teachers with access to artists methods ad skills of iovatio, which also have the potetial trasform approaches to learig ad curricula; alig with busiess ad commuity parters who ca philosophically ad fiacially support ambitious learig iitiatives for iovatio; idetify strategic ways i which the istitutio itself ca lead chage; itegrate the iovatio ad educatio ageda across iteral staff teams; use the istitutio s kowledge ad etworks of iovatio to meet, lead ad grow the ideas ad iterests of school costituets. Growig future Iovators: a scopig study 3

6 The Elastic Frotiers project, Arolfii, Bristol, UK. Photograph by artist Da Shipsides. 4 Growig future Iovators: a scopig study

7 Cotets Executive summary Cotets... 5 Itroductio: Itroducig the project Sectio Oe: The dyamics of iovatio Sectio Two: The role of educatio i iovatio Sectio Three: Cotemporary arts istitutios ad educatig for iovatio Sectio Four: Seve ways cotemporary arts istitutios coect schools with iovatio Sectio Five: Recommeded ext steps Referece List Ackowledgemets About the authors Growig future Iovators: a scopig study 5

8 Itroducig the project Photograph courtesy of the Perth Istitute of Cotemporary Arts, Perth. 6 Growig future Iovators: a scopig study

9 The idea I 2008, the federal govermet s Review of the Natioal Iovatio System (RNIS) ivited Australias to respod to a set of key questios, oe of which asked: What mechaisms could we put i place to support a culture that promotes the geeratio of fresh ideas ad risk-takig? Of the staggerig 700+ public submissios to the review, several doze argued that the arts ad cultural sector could uiquely cotribute to a iovative coutry. Two of those resposes were by the Faculty of Educatio ad Arts at Edith Cowa Uiversity (ECU), ad the Perth Istitute of Cotemporary Art (PICA) i Wester Australia. This iitiated a dialogue betwee the istitutios o how the cotemporary arts might grow future iovators through teachig ad learig programs for schools ad youg people. The coversatio betwee the istitutios had currecy with a rage of atioal ad global debates at the itersectio of iovatio, educatio ad the arts. Arts Iovatio Educatio Historically, coectios betwee these domais have ot bee readily ackowledged let aloe celebrated. For much of the twetieth cetury, iovatio theory ad policy were almost etirely cocered with scietific kowledge ad maufacturig techologies. Models of formal educatio have become steeped i ieteeth-cetury idustrialism rather tha twety-first cetury iovatio. Ad while artists ad arts commetators have log used terms like iovatio to describe exploratory practice, they have mostly doe so outside of iovatio policy frameworks. These days, however, may fruitful itersectios are beig explored betwee iovatio (ew ideas ad chage), arts (creative-cultural egagemet) ad educatio (teachig ad learig). This triity has iformed the key questios of the Growig Future Iovators project ad partership: How might educatig for iovatio be better served by the arts? How might arts-led educatio cotribute to, ad be re-imagied by, a iovatio focus? How might the emergig arts ad iovatio platform be iterrogated ad improved by the educatio debates? The project Growig Future Iovators (GFI) has bee evisaged as a log-term project that aims to idetify, geerate, trial ad evaluate the most effective mechaisms for promotig the culture ad dyamics of iovatio to youg people ad teachers i primary ad secodary school cotexts across arts ad o-arts disciplies. GFI has bee established through ECU s Cetre for Etertaimet, Arts, Techology, Educatio & Commuicatios (CREATEC) i partership with PICA. Research to date has bee joitly fuded by ECU s Idustry Collaboratio scheme as well as support from The Fogarty Foudatio. The ARC Cetre of Excellece for Creative Idustries ad Iovatio (CCI) has cotributed by providig research expertise ad exchage. The project has also beefited from the geerous assistace of the broad etwork of cultural istitutios ad schools who participated i the research. Overall, this project addresses the eed to: 1. foster a iovative workforce ad society; 2. place cotemporary arts i the iovatio debate; 3. lik cultural ad educatioal istitutios to the iovatio system; ad 4. develop better ways of measurig the impact of arts learig ad the developmet of iovatio skills. Growig future Iovators: a scopig study 7

10 This report is oe of the outcomes of a prelimiary scopig study udertake as the first stage of the GFI project. Besides sharig its fidigs with broader arts, educatio ad iovatio sectors, this prelimiary scopig study has sought to establish the directio ad desig of future phases of the GFI project, which will iclude deeper cosultatios ad a pilot program with schools, arts ad cultural iovators, ad busiess ad commuity parters. From , the project is beig supported by Rio Tito as Pricipal Parter ad will receive ogoig assistace from the Fogarty Foudatio. The scope of the project also provides a opportuity for other idividuals ad orgaisatios to be a part of this excitig ad ambitious iitiative. This report This report sets out the argumet ad backgroud iformatio to support a threeyear pilot project i Wester Australia from GFI. The report is coauthored by Dr Julie Robso (research fellow, CREATEC) ad Dr Luke Jaaiste (research fellow, CCI), with iput from Amy Barrett- Leard (director, PICA) ad the assistace of may others (see Ackowledgemets). Across its five sectios, this report cavasses key cocepts, issues ad exemplars to cosider whe desigig arts-led iovatio programs for schools, ad idetifies areas for more detailed, ogoig research. Sectios 1 to 3 review the literature o iovatio, educatio ad arts withi policy developmets ad academic research. These chapters reveal pertiet itellectual ad policy cotexts ad achievemets, as well as tesios ad historical biases that eed to be take ito accout. Sectio 4 reviews case studies of bestpractice learig programs of leadig cotemporary arts istitutios from Australia ad the Uited Kigdom based o iterviews ad field trips coducted by Julie Robso ad Amy Barrett-Leard. Usig a rage of examples, seve ways that cultural orgaizatios ca coect schools with iovatio are highlighted. Fially, i Sectio 5, the report outlies practical recommedatios for the ogoig work of researchers, schools ad cotemporary arts istitutios i the collaborative veture of educatig for iovatio via arts-led programmig. 8 Growig future Iovators: a scopig study

11 1 The dyamics of iovatio Boy Touchig Sculpture, AWESOME Iteratioal Arts Festival for Bright Youg Thigs. Photograph by Ke Drake, courtesy of AWESOME Arts, Perth. Growig future Iovators: a scopig study 9

12 1 Godi (2008) 2 OECD (1992, 1997a, 1997b, 2005) 3 OECD (2007:5) 4 quoted i Natioal Goverors Associatio (2007:1) 5 Gates (2010) 6 Cetre for Iovatio ad Humaity (2010) Iovatio is about fosterig ew ideas ad ew ways of doigs thigs that lead to greater civic, ecoomic ad cultural prosperity ad wellbeig. Big ideas ad great chages i history reveal the extet to which humas are iovative, witessed i advaces like the advet of writig, the developmet of musical harmoy, the discovery of the theories of gravity ad relativity, ad the itroductio of the iteret. But iovatio is also about the small chages we make each decade, year ad day to solve challeges ad take up ew opportuities, whether as idividuals, teams or commuities. While iovatio is at least as old as humaity itself, the last decade has see a explosio of iterest i the topic. As we outlie i this sectio, the idea of iovatio has grow expoetially i public importace, i terms of those who cotribute to it, ad i its theoretical frameworks. Because so may people are ivolved i iovatio i so may differet ways, it is ot surprisig that o oe overview does justice to it; what we preset below simply begis to map out its curret ad iter-coected dimesios. 1.1 A growig global importace Awareess of the public value of iovatio has bee growig over the last cetury ad especially the last decade. As Godi has outlied, 1 the term origially etered the veracular i the thirteeth cetury to describe chages i legal cotracts ( ovatios as they are still termed). I the early twetieth cetury, iovatio became a focus of various athropologists ad sociologists to help describe the way huma cultures chage. I the Uited States ad Europe, academic iterest the merged with idustry iterests ad govermet policy developmet. By the 1990s, iovatio emerged as a overt public cocer, ad it has oly cotiued to grow i reach ad sigificace sice. This has bee largely drive by the work of the OECD (Orgaisatio for Ecoomic Co-operatio ad Developmet), which represets the developed democratic ecoomies of the world. For example, the OECD s Oslo Maual for the measuremet of iovatio (with the 1st editio datig to 1992) ad its ogoig Natioal Iovatio Systems project (lauched i 1997) have bee sigificat iitiatives. 2 As we move ito the twety-first cetury, iovatio is icreasigly cited as the ecessary respose to cotemporary challeges. We live i iterestig times : a period of massive global chage with may difficulties but also may opportuities. We face complex problems with global, ecological, social, ecoomic ad political issues. Coversely, developmets i ew media, techologies, social formatios, iter-cultural sesibilities ad global markets have opeed up opportuities for differet coectios, collaboratios, commerce ad commuity. The iovatio ageda, the, is a public expressio of the realisatio that curret ways of operatig are ot goig to work i the future or could work better. Govermet, busiess, commuity ad itellectual leaders icreasigly ackowledge this: Today, iovatio performace is a crucial determiat of competitiveess ad atioal progress. Moreover, iovatio is importat to help address global challeges, such as climate chage ad sustaiable developmet. (OECD) 3 Everythig is chagig ad it will cotiue to chage. Ad the chage is acceleratig. If people are t able to see the chage that s comig ad take advatage of it, it s goig to be devastatig. That s why forwardlookig public policies aroud iovatio are so critically importat. (Goveror Pawlety, Miesota) 4 If we project what the world will be like 10 years from ow without iovatio i health, educatio, eergy, or food, the picture is quite bleak However, I am optimistic that iovatios will allow us to avoid these bleak outcomes. (Bill Gates) 5 Iovatio ad Humaity must serve as oe, i our udisputed ad collaborative efforts to create ew products & services, idustries, leaders ad opportuities the world-over. We must all be social etrepreeurs both i ad outside of the workplace. It is o loger a choice; it s the ew ormal. (Cetre for Iovatio ad Humaity) 6 10 Growig future Iovators: a scopig study

13 7 Commowealth of Australia (2001), see also Commowealth of Australia (2004) 8 Iovatio Summit Implemetatio Group (2000) 9 for details o the history of Australia s iovatio policy, see Bryat et al. (1996) ad Timpso & Rudder (2005) 10 Cutler i DIISR (2008:2) 11 Seator Kim Carr i Commowealth of Australia (2009:iii) 12 Godi (2008) 13 Cuigham (2008), Hasema & Jaaiste (2008), Jaaiste (2009a) I Australia the growth of the iovatio ageda has paralleled global treds. Havig emerged as a overt public policy platform i the 1990s, it icreased greatly i importace i the 2000s. The ladmark atioal policy momet was the release of the Howard govermet s multi-billio dollar Backig Australia s ability i 2001, 7 which was released after the Natioal Iovatio Summit 8 held i Caberra the previous year. Sice the, the govermet has led several rouds of atioal iovatio reports, policies ad iquiries. With the chage of govermet i 2007 came the Review of the Natioal Iovatio System (RNIS), which resulted i the Veturous Australia report i 2008, followed by the govermet respose Powerig ideas i Withi these two reports, the importace of iovatio was agai reiterated: There are few subjects more cetral ad fudametal to Australia s ecoomic, social ad evirometal future tha iovatio. (Terry Cutler) 10 Iovatio is ot a abstractio. Nor is it a ed itself. It is how we make a better Australia, ad cotribute to makig a better world a prosperous, fair ad decet world, i which everyoe has the chace of a fulfillig life. (Seator Carr) 11 Despite sweepig statemets ad uiversal setimets, maistream iovatio theory ad policy has, however, focused arrowly o sciece ad techology. As Godi 12 reveals, i the first half of the twetieth cetury, iovatio came to be thought of i purely istrumetalist terms: iovatio as useful, techological, commercial, ad orgaisatioally maaged chage. This focus arose from the coalescece of scietific research policy (from the 1940s) ad techological idustrial policy (from the 1960s). After two world wars, scietific ad techological iovatio was highly promoted i the Uited States, ad the Europe, as a meas to rebuild, feed ad urture a atio. Whe iovatio policy became a overt ad globally pursued policy platform i the 1990s, sciece ad techology were syoymous with research ad iovatio. Likewise, over the years, iovatio studies has matured as a sub-sector of studies i sciece, techology ad ecoomics. This perspective, however, is ow chagig. 1.2 A wideig horizo: the rise of the creativity ad iovatio ageda While maistream iovatio policy ad studies retai a somewhat arrow focus, the iterest i iovatio has spread across may sectors ad people the outcome of what might be called a expaded creativity ad iovatio ageda. Put simply, iovatio ad its typical cocers (idustry, sciece ad research, eterprise, kowledge ad largescale systems) are ow itermiglig with creativity ad its typical cocers (arts ad culture, commual ad persoal expressio, imagiatio ad aesthetics). The overlap of various key terms has facilitated this shift (however, care is eeded here, because terms like creativity, iovatio, desig ad culture ca mea quite differet thigs withi differet domais). New media covergeces have also bee ifluetial. The iteret ad other olie platforms have opeed up a rage of ways i which govermets coect with the public, i which commuities form ad mobilize, ad i which kowledge or soft media is created, shared ad traded. Withi this social ad techological cotext, iter-discipliary kowledge ad iter-cultural coectios aboud. As a result, the two distict poles of the creativity ad iovatio ageda arts ad culture o the oe had, ad sciece ad techology o the other have bee gradually approachig oe aother withi policy, academic ad public platforms. 13 For the STEM sector (sciece, techology, egieerig ad medicie), creativity ad iovatio is ofte orietated aroud ew ideas ad eterprise. The term creativity traditioally implies the productio of ew ideas for scietific research ad socioecoomic problem solvig while iovatio relates to the applicatio ad implemetatio of ew ideas as patets, maufactured goods ad techical services. However, this focus is ow begiig to broade i several ways, icludig: The recogitio that complex problems caot be solved by sciece ad techology sectors aloe. Iovatio systems thikig has revealed that the iteractio of may sorts of people, skills ad practices Growig future Iovators: a scopig study 11

14 14 Hasema & Jaaiste (2008), cf Jaaiste (2009b) 15 Cutler ad Co & CIRAC (2003) 16 PMSIEC (2005) 17 Australia Coucil for the Arts (2006) 18 are ofte ivolved i iovatio, well beyod scietific kowledge ad techological wizardy. A icrease i attetio o the service sector, as it rapidly replaces the maufacturig base. With maufacturig ow movig offshore ito the developig world, service sector iovatio has become a more crucial part of iovatiobased ecoomies, which icludes arts ad cultural services. A growig ackowledgemet of the triple-bottom-lie of ecoomic, social ad evirometal value. As such, iovatio thikig has reached beyod commerce ad idustry, ito public sector ad third sector o-profit orgaisatios, where we ofte fid arts ad culture. A focus o the culture of iovatio. Busiess maagemet texts highlight the eed for a supportive orgaisatioal culture that breeds creativity ad iovatio, ad although this is ot a arts-based approach, such cocers do brig culture ito the coversatio. I the HASS sector (the humaities, arts ad social scieces), arts ad cultural policy has bee coected to the creativity ad iovatio ageda mostly i terms of cultural expressio ad distributio. I this cotext, creativity teds to refer to the expressivity ad meaig-makig at the heart of arts ad cultural productio the makig, performig ad presetig of music, performace, artworks, aesthetic desig, literature ad the like whilst iovatio teds to be used to refer to ew ad experimetal forms of cultural expressio, or ew ways of distributig ad maagig such cultural activities. O several frots, though, the arts ad cultural sector have moved ito dialogue with idustry ad iovatio policy ad its sciece ad techology drive otios of creativity ad iovatio. This ca be see i: The rise of creative idustries discourse. This field has sought to show how busiess eterprise ad iovatio i the cultural domai ca also act as eablers of iovatio across other parts of the ecoomy ad society. Fusio of arts-sciece ad arts- techology, ad ew media hybrids. These have provided strikig evidece of how cultural pursuits ca impact ad be impacted upo by iovatios i sciece ad techology. The etrace of creative productio ito academic research. Kow i the arts, desig ad media disciplies as practice-led research, creative productio has bee show to be a valid research activity alogside sciece ad humaities scholarship. Various research ad policy projects o iovatio ad the arts/cultural/creative idustries. As these have emerged, they have at times fuctioed as policy bridges by various sector advocates ad agecies. The jourey take by arts ad cultural domais towards iovatio policy i Australia has bee charted by Hasema ad Jaaiste i The arts ad Australia s atioal iovatio system They cavas the rage of argumets made durig this time: cultural ad educatioal argumets about the way the arts ca support a role for developig, ecouragig ad attractig iovators; kowledge ad applicatio argumets about the way the arts ad creative idustries ca geerate ad apply iovative ideas; ad commercial ad systems argumets about the scale, sigificace ad systemic roles of the arts ad creative idustries as a eabler of iovatio i cotemporary societies. I Australia, there were several key milestoes i the attempt to coect arts with iovatio policy. Durig the latter stages of the Howard govermet, these icluded: the Creative Idustries Cluster Study with its iovatio systems report (2003), 15 the Imagie Australia report to the Prime Miister s Sciece, Iovatio ad Egieerig Coucil (2005), 16 the Creative iovatio strategy of the Australia Coucil for the Arts (2006), 17 ad the establishmet of the Australia Research Coucil s Cetre of Excellece for Creative Idustries ad Iovatio (CCI, lauched 2005). 18 The aoucemet that Terry Cutler would head the Australia s Review of the Natioal Iovatio System (RNIS) i 2008 was also sigificat, for Cutler had worked equally with sciece ad techologists, 12 Growig future Iovators: a scopig study

15 Lookig for Chage 2009 Ady Aitchiso Tate Moder, UK Stratford et al. (2008) 21 CHASS (2008) 22 Cutler (2008), Macdoell (2008) 23 Research ad Iovatio Policy Project (2008) 24 publicatios 25 NordicIovatio (2010) 26 see OECD (2002:46-50, 2005:97) 27 Godi (2001) 28 quoted i Cutler ad Co (2008: 47) 29 Carr (2008) 30 Barroso (2006a, 2006b) the busiess commuity, ad the arts ad cultural sector. 19 As part of the ethusiastic respose prompted by the RNIS, several evets were orgaised that same year to discuss the iovatio ageda for arts ad culture, icludig Islad Isight i Hobart, 20 a workshop by the Coucil for the Humaities, Arts ad Social Scieces (CHASS) i Sydey, 21 Currecy House forums i Sydey, 22 ad a symposium by Creative Idustries ad Iovatio (CCI) i Caberra. 23 Overseas, the Uited Kigdom, Germay ad several of the Nordic coutries have spearheaded attempts to coect the arts to iovatio policy. Of particular ote is the work of two iovatio agecies that have examied the creative idustries alogside more typical areas of sciece ad techology. The Natioal Edowmet of Sciece, Techology ad the Arts (NESTA) i the UK has cotributed may such reports sice 2006 ad cotiues to do so, 24 while the Nordic Iovatio Cetre released 17 reports o creative idustries sectors betwee 2003 ad Expasio beyod the sciece-adtechology focus of iovatio was also alluded to i chages i the most recet editios of the iteratioal stadards for iovatio (the Oslo ad Frascati Mauals from the OECD), which hit at icludig software desig, humaities ad the social scieces. 26 Over the years, the broader remit ad ecumeical ature of UNESCO compared to OECD has also bee a driver i expadig iovatio policy settigs. 27 Globally, govermet leaders are takig the covergeces betwee sciecead-techology ad arts-ad-culture seriously. At the Australia 2020 Summit i April 2008, Prime Miister Rudd called o the atio to move beyod the false dichotomies emeshed i the creativity ad iovatio ageda: This false divide betwee the arts ad sciece, betwee the arts ad idustry, betwee the arts ad the ecoomy: we ve actually got to put that to bed. As if creativity is somehow this thig which oly applies to the arts, ad iovatio is this thig over here which applies uiquely to the scieces, or techology, or to desig. This is actually agai a false dichotomy: it s just ot like that. Our ambitio should be to create ad to foster a creative imagiative Australia because so much of the ecoomy of the twety-first cetury is goig to require that cetral faculty. 28 Later that year, Seator Kim Carr (Miister for Idustry, Iovatio, Sciece ad Research) stated that his desire for iovatio was ot to flood the coutry with shiy gadgets, but to chage the culture. Besides ew techologies, he said, we will also eed ew istitutios, ew forms of commuity ew ways of uderstadig ourselves ad our world. 29 The public ad official desire to iclude the arts ad the broader cultural sector i the iovatio ageda is most keely expressed i Europea Commissio presidetial speeches 30 ad through the recet Europea Growig future Iovators: a scopig study 13

16 31 Europa (2009) 32 DIUS (2008) Oakley (2007), McWilliam (2008) 35 Year of Creativity ad Iovatio i 2009, which was meat to better coect the arts ad cultural fields with those of research ad iovatio. 31 Aroud the same time, the UK s strategy Iovatio atio 32 sigaled a clear itetio to iclude the creative idustries, actively embracig the arts, desig, media ad commuicatios idustries. Iter-discipliary coectios withi the creativity ad iovatio ageda are also promoted i various public domais. Oe strikig example is the TED talks, a series of live ad olie presetatios i which world experts address ew ideas. 33 TED stads for techology, etertaimet ad desig, a meltig pot that has also brached out to iclude the full gamut of scieces ad arts. The active ad equal iterest across all these disciplies, show by the TED orgaisers ad the growig iteratioal audiece base, is remiiscet of the vitality ad crossover attitudes that eergized the itellectual world of the Reaissace. 1.3 Creativity ad iovatio i the workplace, classroom ad city A desire for the creativity ad iovatio ageda has strog implicatios across three sigificat sites the workplace (busiess), the classroom (educatio) ad the city (urba developmet). The busiess sector ow recogizes the cultural acume of the arts ad that creative competecies offer strog ecoomic value ad advatage. Workplace practices ofte associated with the arts portfolio careers, collaboratios, project-based work, flexibility, casual hours ad iformal workplaces are said to be more ad more the realities of the workforce i geeral. Cosequetly, educatio services eed to shift ad respod accordigly. As creative workforce researchers like Oakley ad McWilliam observe, busiess ad educatio sector agedas coverge o this imperative to skill a creative ad iovative workforce. 34 The growig demad for huma ad creative capital accouts for educatio reforms geared towards producig graduates with twetyfirst cetury skills, such as collaboratio ad iterdiscipliary expertise. Oe of the ways i which educatio istitutios have respoded is by offerig strategically mixed sciece ad humaities programs withi schools, udergraduate courses, ad postgraduate research traiig, a move that has bee strogly advocated by the Coucil for the Humaities, Arts ad Social Scieces (CHASS) 35 amogst others. That the ew Natioal Curriculum Priorities i Australia have also recetly icluded the arts cofirms the growig importace placed o creativity. arts & culture sciece & techology busiess / workig educatio / learig Figure 1: the itersectig fields of the creativity ad iovatio ageda cities / livig creativity ad iovatio 14 Growig future Iovators: a scopig study

17 36 Ladry (2000, 2006) 37 Ladry (2010) 38 Florida (2003, 2007) 39 Florida (2007: back cover) 40 Florida (2008) 41 com.au 42 Committee for Perth (2008:3) 43 Committee for Perth (2008:9) Aholt (2008) 46 Hetherigto (2008: 32) 47 Departmet of Culture ad the Arts (2010) 48 Departmet of Culture ad the Arts (2005) Thikig about a iovative ad creative workforce has coicided with the rise of urba developmet ad the creative cities rhetoric popularized by Ladry 36 amogst others. This discourse ecourages govermets ad citizes of cities to trasform their thikig so that they look at their potetial imagiatively ad ca pla ad act with origiality. 37 It also supports the clusterig of activities that coect scieces, techologies, arts ad desig. Healthy ad flourishig cities, it is argued, are places where commuity aspiratios of creativity ad iovatio should become maifest. Creative cities are the product of what Richard Florida has famously termed the rise of the creative class. 38 He posits that the role ad awareess of creativity i work ad life has sigificatly trasformed our values ad tastes, our persoal relatioships, our choices of where to live, ad eve our sese ad use of time. 39 It provides the competitive edge i idustry ad busiess while also broadeig optios for lifestyle ad leisure. Accordig to Florida, the creative class as a ecoomic ad cultural force has grow to the poit where it ow determies which workplaces ad cities thrive ad which whither. His latest book, Who s your city, takes the emboldeed view that the creative ecoomy is makig the place where you live the most importat decisio of your life. 40 The case of Perth, Wester Australia The capital city of Perth is a strikig case of the risig creativity ad iovatio ageda ad iterest i this from across the commuity. May voices have bee cotributig to a ogoig coversatio about the directio ad vitality of Perth, with dialogue actively pursued by busiess, cultural ad educatio sectors. Exemplifyig busiess sector demad for more emphasis o creativity ad iovatio is The Committee for Perth (TCP), a apolitical thik tak established i 2006 to actively improve the liveability of Perth. 41 I 2008, with support from Curti Uiversity, TCP udertook commuity ad busiess cosultatio towards the research ad publicatio of a Cultural compact, which offers a te-year visio for Perth. It proposes strategies for creatig a dyamic city of the future that is vibrat ad iovative with a sese of place. 42 It imagies Perth as a place where cultural appreciatio ad activity are a part of everyday life, where youg artists are supported ad icubated, ad where creators of bold ad courageous art are ecouraged. 43 This theme has also bee pursued i the work udertake by FORM, a Perth based cultural orgaisatio that seeks to place creativity ad iovatio at the cetre of Wester Australia s growth of a kowledge ecoomy. 44 FORM pursues this objective by stagig various regioal, idigeous ad idustry developmet projects, ad place activatio schemes. It also hosts iteratioally reowed iovatio ad creativity experts, such as Charles Ladry, Richard Florida, ad Joh Howkis amogst others, who are able to ivigorate debate. It s 2008 research report, Comparative capitals, surveys eight Australia cities, ratig them i terms of their capacity to: keep ad attract youg, educated ad creative workers; foster iovatio across idustries; ad urture liveable city eviromets. Amogst its fidigs, the report suggests that Perth is a city yet to fully ad strategically brad itself, 45 ad that: Perth eeds creative credibility. The demographic data tell us that the city suffers from a imbalace withi its creative professioal base Like all cities, Perth requires creativity ad iovatio to maitai its commuity vitality ad ecoomic dyamism. 46 Wester Australia s arts ad educatio policies champio a strog creativity ageda, albeit with little referece to iovatio itself. The visio outlied i Creatig value: A arts ad culture sector policy framework , 47 emphasises creative people, commuities, ecoomies ad eviromets. Creative coectios: A arts i educatio partership framework (2005) 48 ackowledges that educatio systems eed reewal i the era of the creative ad kowledge-based ecoomy, ad that the arts ca play a role i this. The framework thus strives for: broad public policy ad commuity recogitio of the importace of the arts i developig the uique itellectual ad persoal capacities of all youg Growig future Iovators: a scopig study 15

18 49 Departmet of Culture ad the Arts (2005:9) Telesis Cosultig et al. (2007) 52 this sectio builds upo Jaaiste (2009a: ). 53 OECD (2005:47-56) 54 OECD (1997a:10-11) 55 Jaaiste (2009a:226) 56 Stoema & Bakhshi (2009), Stoema (2010) 57 see, for istace, Australia Cetre for Social Iovatio (2010), Murray et al. (2008) 58 cf OECD (2005:57-58) people i preparatio for life ad work i a icreasigly challegig ad rapidly chagig world; ad that all youg people will have access to high quality arts ad cultural experieces throughout their schoolig. 49 Just as arts educatio iitiatives ofte do ot deal directly with iovatio, so too iovatio departmets frequetly dowplay arts ad culture. The Wester Australia state govermet s 2009/10 Iovatio Service Directory, for example, which is desiged to showcase Wester Australia iovatio ad to promote the importace of iovatio to the developmet of the WA ecoomy, does ot list ay arts orgaizatio. 50 This is despite research by the local ad state govermet that has mapped a burgeoig creative idustries sector with icreasig employmet rates ad socioecoomic impact. 51 Rigour i the rhetoric? Iovatio is somethig that more people are seeig as importat ad as somethig they ca cotribute to. With this comes a lot of rhetoric, big ideas ad grad visios. But what does it really mea, whe we talk about iovatio, ad chagig our society ad humaity as a result? A workable theory of iovatio is eeded. 1.4 A expaded coceptual framework of iovatio With the wideig iterest i iovatio, uderstadigs about its ature have grow. A cotemporary, expaded framework icludes more domais, dyamics ad members of society i relatio to stages ad systems of iovatio. The followig overview draws o the basic cocepts that uderscore curret iovatio theory ad policy, which have bee elaborated o i major reports such as Veturous Australia. 52 Cotemporary, expaded defiitios of iovatio are cocered with positive chage that produces tagible value for idividuals ad the wider commuity. It allows for vital chage ad reewal through ispired visio, practical actio ad ovel problem solvig. Withi this geeral view of iovatio we fid a rage of defiitios ad characteristics, relatig to its types, styles, values, sectors, degrees of ovelty, sources ad visibility. Sice the term iovatio is used i may subtly differet ways, referrig to: types of iovatio: at their most basic, iovatios ca be ew thigs, processes or forms that are brought ito the world. They may relate to: iovatio i goods or services produced (product iovatio) ad the way they are produced (process iovatio); the fuctioig of orgaisatios ad their itra- ad iterrelatioships (orgaizatioal iovatio); ad the way ew marketplaces are formed ad iteracted with (market iovatio). 53 styles of iovatio: iovatio to come out of sciece ad techology domais has bee described as techological product ad process (TPP) iovatio, 54 while iovatio that cocers aestheticcultural chages has bee described more recetly as cultural product ad process (CPP) iovatio 55 or soft iovatio, 56 ad those cocered with social chage have bee called social iovatio 57. Additioally, the products ad process, as well as the orgaisatios ad marketplaces could be quite differet for each of these differet styles of iovatio. the cotexts, values ad sectors of iovatio: each style of iovatio above ca exist withi a rage of cotexts, icludig busiess eterprise, social welfare, the public service ad govermet, o-govermet orgaisatios (NGOs) ad the o-profit sector. As such, iovatio ca produce differet types of value ad chage based o commercial, social, evirometal ad cultural values. the degree of chage ad ovelty: radical iovatio ivolves fudametal chage that produces a sigificat disjucture with the past, while icremetal iovatio ivolves mior alteratios ad subtle chage which ca ofte happe i a cotiuous maer. Global iovatios are those that have ever existed before ad are ew to the world, while existig iovatios adopted for the first time by a perso or group are local iovatios ew to the orgaisatio or idividual Growig future Iovators: a scopig study

19 59 Slawsby & Rivera (2007:3) 60 Leadbeater (2009b) 61 Harris (2007), see also NESTA (2007b), Miles & Gree (2008) 62 OECD (2005:29) the sources of iovatio: who drives the developmet of iovatio ad where it comes from ca vary. Accordigly, terms like research-led, market-led ad userled iovatio have coied. Ad while iovatios ca be the brai child of idividuals or specific teams idividual iovatio it is also possible to have collective iovatio, which is based o coected, ope, ad collaborative process 59. These ca ofte be facilitated by olie platforms as described i Charles Leadbeater s We Thik. 60 the visibility of iovatio: iovatio which is ot captured i official iovatio surveys ad statistics has bee described as hidde iovatio, as opposed to what might be called reported iovatio. As Michael Harris from NESTA poits out, despite ot beig measured, hidde iovatio ofte represets the iovatio that matters the iovatio that most directly cotributes to the real practice ad performace of a sector. 61 Traditioally, maistream iovatio researchers ad policy-makers have focused o iovatios that are: radical; researchdrive; ew to the world; led by idividuals ad small teams; ivolvig techological products ad processes; ad readily observed ad reported. But this is chagig. As part of the broadeig creativity ad iovatio ageda, researchers ad policy makers have also begu to examie iovatio that is: icremetal; user-drive; local; social; hidde; relatig to orgaisatioal, marketig, servicebased ad other forms of low- ad otechological iovatio. So how do all these iovatios come to be? Scholars ad policy-makers ow thik of iovatio as flourishig i a complex ecology that ecompasses a cycle, people, istitutios, ad various supportig mechaisms (which is represeted visually i Figure 2). Iovatios move through a three-stage cycle from their specific, geerative begiigs to their practical applicatio ad wider diffusio, which ca the stimulate further iovatio. This characterisatio of the iovatio cycle has its origis i the mid-twetieth-cetury ecoomic theories of Schumpeter 62 ad while typically applied to scietific kowledge ad busiess eterprise, it ca also be applied to may if ot all disciplies ad domais of iovatio activity. These three stages of iovatio are: geeratio creatig ad producig ew kowledge, ideas, forms ad processes applicatio applyig ew kowledge, ideas, forms ad processes i practical cotexts for tagible beefits diffusio the spread of ew kowledge ad applicatios util it is absorbed ito our way of life GENERATION iovatio policies ad programs DIFFUSION APPLICATION iovatio cycle Figure 2: the ecology of iovatio educatio system cities / livig culture of iovatio Growig future Iovators: a scopig study 17

20 63 Commowealth of Australia (2003:25,161) 64 Rogers (1995: ch6) as discussed i Kirklad & Sutch (2009:9) 65 Rogers (1995: ch7) 66 OECD (1997b) 67 Australia Coucil for the Arts (2005:2) 68 Iovatio Summit Implemetatio Group (2000) Kowledge geeratio, or origiatio, is thought of as the research ed of the iovatio cycle. Some of this activity is curiosity-drive ad highly esoteric (sometimes labeled pure research), while some is directed towards practical problems ad applicatios (sometimes called applied or strategic research, or else research-addevelopmet [R&D]). I the applicatio phase, ew ideas ad forms are put to use, for ecoomic ad/or broader social value. Ecoomic applicatios are forms of commercialisatio whilst o-commercial applicatios for social beefit have bee labelled utilisatio 63 or else social iovatio. For Schumpeter ad may others, if ew ideas, processes or forms are ot take up ad applied, they are said to remai ivetios oly, awaitig to become iovatios. Diffusio also relates to both ecoomic ad broader social cotexts. The iovatio s uptake ad itegratio relies o various factors, such as its relative advatage (over the older practice), compatibility (with orgaizatios, cultures ad values), complexity (how difficult it is to adopt ad adapt), triability (how easy it to try ad the risks ivolved), ad observability (visible beefits to those who are adopters). 64 Depedig o these factors, diffusio may be istat or take years to assimilate. It ca be mapped across defiable areas, over discrete periods of time ad ca exhibit differet patters of movemet. For example, ot everyoe hears of every iovatio, ad ot everyoe who hears of oe is iterested i adoptig it. Those that take up, use, cosume ad adopt iovatios also vary. These differet types of adopters have bee aalysed by diffusio theorists, such as Everett Rogers, 65 ad iclude those who first use a iovatio (iovators), ad those who come ext (early adopters), those who wait a while (middle adopters) ad those who lag behid (late adopters ad laggards). The iovatio cycle is supported by the iovatio system, a complex etwork of people, orgaisatios, istitutios, govermet regulatios ad policy. 66 This systems-based approach to iovatio emerged i the 1990s ad govers much of the curret thikig o iovatio policy. The schema factors i the ways that ideas, people ad products iteract ad flow, ad exists more as a orgaic eco-system rather tha ay closed mechaical system. The mai compoets of the iovatio eco-system are comprised of agets ad agecies, hard ad soft ifrastructure, ad a supportig backdrop of culture ad educatio: Agets (idividuals) icludig researchers, iovators, etrepreeurs, maagers ad support staff, policymakers, cosumers ad citizes; ad Agecies (orgaisatios ad istitutios) icludig research cetres withi ad outside of uiversities, busiesses ad firms, govermet services ad departmets, the o-profit sector ad NGOs, ad collectio agecies such as libraries, museums ad other archival cetres. Physical, olie ad corporate ifrastructures icludig equipmet ad tools, veues ad cetres, ad libraries ad archival facilities. Policies, regulatios ad programs icludig research ad iovatio policy, R&D icetives, itellectual property (IP) laws ad mechaisms, veture capital ad eterprise fudig schemes. Supportig educatio system icludig geeral schoolig through to specialist tertiary educatio, vocatioal traiig ad skills developmet. Backgroud culture of iovatio also called the climate of creativity 67 or the ideas culture. 68 The overall goal of iovatio policy ad programs is to icrease the capacity of the iovatio system ad its agets ad agecies, so that we ca be more iovative, more of the time. Such iitiatives could focus o makig certai parts of the ecosystem work better or o makig the liks betwee them stroger. This implies that govermet has a rage of roles to play ad ca deliver support to may parts of the iovatio ecosystem, such as: direct fudig of idividuals ad orgaisatios, public iformatio campaigs, legislative reform, ad by 18 Growig future Iovators: a scopig study

21 Baltic Quay maths teachers. Photograph by Da Brady, courtesy of BALTIC Cetre of Cotemporary Art, Gateshead, UK. 69 SKE (2007:3) beig a early adopter ad procurer of iovatio throughout its public services ad departmets. While govermet caot force a society to be more iovative, it ca create icetives, provide ifrastructure ad remove obstacles. Sectors ad orgaisatios ca also icrease iovatio capacity by fosterig their ow culture of iovatio, seekig out ew ideas ad rewardig those who challege the status quo. Orgaisatios ca team up ad sector associatios ca offer awards, circulate iformatio or establish relatioships ad metorships that build kowledge, experiece ad opportuity. The supportig backdrop of a cultural milieu ad educatio system also plays importat roles withi the iovatio system. A society that affirms iovatio ca ecourage ad eable creators through to cosumers ad citizes to be more ivolved i iovatio activity, such as risk-takig, experimetatio ad eterprise. As the Society for Kowledge Ecoomics has commeted, a atio s social value system the beliefs, attitudes, spirit, values, ad culture of its people is ofte a importat facilitatig factor of iovatio ad creativity i society ad busiess. 69 Educatio, both formal ad iformal, ca geerate this broad uderstadig ad skills base, ad it is to this most importat issue that we ow tur. Growig future Iovators: a scopig study 19

22 2 The role of educatio i iovatio The Creative Challege project FEAST, Jarlmadagah Commuity. Photograph by Max Kordyl, courtesy of AWESOME Arts, Perth. 20 Growig future Iovators: a scopig study

23 70 quoted i Cutler ad Co (2008:45) 71 cf Hear & Bridgstock (i press) 72 Lucas & Claxto (2009:4) 73 Lucas & Claxto (2009:4), SKE (2007:3) 74 Victoria Govermet (2007: 24) 75 SKE (2007:3), NESTA (2007b) 76 Sawyer (2006:41) 77 NESTA (2007a:1) 2.1 The liks betwee educatio ad iovatio The educatio sector ca foster iovatio by developig the skills ad values required for a iovative workforce ad society. While educatio aloe caot produce a more iovative society, formal ad iformal opportuities for learig have a sigificat part to play i buildig iovatio cultures ad capacities. Ivestig i this compoet of the iovatio system is sometimes described as ivestig i the huma capital of iovatio. As the federal Departmet Educatio, Employmet ad Workplace Relatios puts it: Iovatio is fudametally a peopledrive exercise ad a atio s capacity to iovate is iextricably liked to the breadth ad quality ad focus of its educatio ad traiig systems. 70 The educatio system, the, eeds to be calibrated with the features of iovatio 71, ad it is argued that the most importat areas to focus o are the metal ad emotioal habits of mid that uderpi iovatio, ad the cultural practices of schools ad colleges that ivite ad stregthe those habits. 72 I the academic ad policy literature at large, educatig for iovatio is discussed i terms of iovatio skills ad values that ca be developed through various approaches to structurig cotet ad delivery: skills buildig the skills, dispositios ad habits of iovatio, as varied ad problematic to defie as these may prove to be. values ecouragig the spirit of iovatio, by ecouragig the attitudes ad ethos to have positive experieces of experimetatio, risk, collaboratio, resiliece ad the like. 73 cotet providig stories ad experieces of iovatios ad iovators, across disciplies ad i formal ad iformal cotexts. delivery developig ad utilizig ew techological ad persoalized platforms of learig suited to the 21st cetury eviromet. Educatig for iovatio is the resposibility of may yet the cotributio of schools is critical give their reach across society ad their ivolvemet i the early years of learig. I reality, the educatioal system is a very broad etwork ad all withi it have a part to play. As the Victoria Govermet has ackowledged: Developig skills for iovatio is a resposibility shared by govermets, educatio ad traiig istitutios, research orgaisatios, busiesses, uios ad idividuals. 74 Developig iovatio skills ad attitudes at a youg age, however, is a key log-term strategy. This places a stroger emphasis o teachers, schools ad educatio policy to foster a iovatio ageda. 75 For their part, schools i may parts of the world ow recogize iovatio as a key compoet of 21st cetury learig. Further research o how to implemet this ageda is, however, ow a priority. I a iteratioal review of learig frameworks, Lucas ad Claxto coclude that may first world coutries are begiig to register ad ifuse both creativity ad iovatio as priority areas. Still, more attetio eeds to be paid to how this is udertake i practice, ot just theory. Accordig to Sawyer, educatioal researchers have paid very little scholarly attetio to the recet shift to a iovatio ecoomy, although it has substatial implicatios. 76 I Australia, The Society of Kowledge Ecoomics called for a study ito how the educatio system could be improved to create a more iovative atio (2007:9). Ad as oe NESTA report poits out: I the short term, the role that existig school-focused programmes play i iovatio, ad how these lik i with iitiatives beyod the school gate, should be reviewed. More should be doe to facilitate learig betwee schools o how the best amog them ecourage ad eable iovative behavior. 77 Sice these claims were made i 2006 ad 2007, various prelimiary research projects have bee iitiated. The gap i kowledge is beig addressed via the recet work of orgaizatios such as NESTA ad Futurelab i the UK, whose Growig future Iovators: a scopig study 21

24 78 Wy (2009) Partership for 21sr Cetury Skills (2004) 81 Gresty cited i Lucas & Claxto (2009:3) 82 Lucas & Claxto (2009:9) 83 Lucas & Claxto (2009:20) 84 NESTA (2007a), Wy (2009) 85 NESTA (2007a:2) research ad reportig has made sigificat iroads ito issues related to with educatig for iovatio. I Australia, the topic has also bee raised by Wy s report Touchig the future: Buildig skills for life ad work, released by the Australia Coucil for Educatio Research i I what follows, we draw heavily o such reports, highlightig the possibilities ad tesios of educatig for iovatio through the school system by focusig o: the skills ad dispositios of iovatio; the creative ecology of 21st cetury schools; the learig parterships for iovatio; the factors that ifluece the iovatio capacity of schools. 2.2 The skills ad dispositios of iovatio Developig skills for iovatio is o loger optioal but essetial. I America, for example, this ca be see i the work of The Partership for 21st Cetury Skills, a advocacy body established i 2002 by the U.S. Departmet of Educatio ad foudig orgaizatios such as Apple ad Microsoft, ad the Natioal Educatio Associatio. 79 I its visio for schools, which has ow bee adopted by 14 America states, core subjects are accompaied by the commitmet ad the resources to develop (1) learig ad iovatio skills, (2) iformatio, media ad techology skills, ad (3) life ad career skills. The framework states: Learig ad iovatio skills icreasigly are beig recogized as the skills that separate studets who are prepared for icreasigly complex life ad work eviromets i the 21st cetury, ad those who are ot. A focus o creativity, critical thikig, commuicatio ad collaboratio is essetial to prepare studets for the future. 80 Iovatio skills are multiple, iterdepedet ad complex, with wide debate over the appropriate termiology (eg: skills versus dispositios), classificatio of levels (eg: basic, hard, soft, wide) ad varyig styles (eg: affective, cogitive, socio-cultural). Iovatio capabilities are geerally classified accordig to three levels. The first level is ofte referred to as the basic or fudametal literacy ad umeracy skills, which provide the platform for idividuals to develop deeper ad more applied capabilities for iovatio. The secod level, termed hard skills, implies more discipliary-specific, techical or occupatioal skill sets. The third level is frequetly referred to as soft or deeper skills. These are related to commuicative, attitudial, socially iteractive or emotive capabilities, ad maifest i meta-tasks like problem solvig, decisio-makig, etworkig, collaboratio, adaptatio or motivatio. Soft skills are also commoly associated with wider skills, a broad set of competecies that are sometimes see as itagible, difficult to ifluece ad problematic to measure, such as foresight, imagiatio, self-awareess, curiosity ad the capacity to take iformed risks. 81 These skills are uderstood to exted beyod a cogitive modality: Explicit, ratioal, deliberate thikig is a powerful tool, but so are the skills of sophisticated practicig, of learig from oe s mistakes, of metal rehearsal ad dreamy visualizatio, ad of readig oe s ow ad other people s emotioal sigals. 82 These wider skills, to which iovatio competecies are regularly liked, are i tur aliged with life skills. Life skills, it is argued, are the aptitudes more easily hidde or uder-recogized withi teachig ad learig systems: Teachig someoe to develop a equirig mid or a resiliet dispositio is self-evidetly more complex tha explaiig soil erosio or quadratic equatios. 83 Typically, these skills are ot overt or embedded ito school curriculums. Studets ted to perceive that the school system predomiatly offers hard skills ad qualificatios, 84 however, it is the advaced third level of soft, wider or life skills which are i icreasig demad. As oe NESTA reports states: Employers are ow reportig greater shortages i problem solvig, commuicatio skills ad teamworkig tha literacy ad umeracy. 85 Developig the three skill levels ad judgig whe to apply them is a complex process, which reveals the sophisticated, 22 Growig future Iovators: a scopig study

25 86 Lucas & Claxto (2009:9-10) 87 Chell & Athayde (2009:4) 88 Chell & Athayde (2009:13-14) 89 Lucas & Claxto (2009:29) 90 Chell & Athayde (2009: 28-29) 91 Chell & Athayde (2009:10-11) 92 Wy (2009) 93 Chell & Athayde (2009:23) 94 Sawyer (2006:43) multidimesioal ad iterdepedet ature of iovatio competecies. By way of ackowledgig this complexity, Lucas ad Claxto strogly advise agaist eve usig the term skills to describe them. 86 Their argumet is that the word does ot sufficietly distiguish betwee the possessio of skills ad the practice of them, offerig the example that a perso who ca use imagiatio is sigificatly differet from oe who does. More accurately, suggest the authors, they should be described as habits of mid, dispositios or orietatios : terms that coote more implicitly that these are the skills that are exercised by iovators. Eve classifyig them as levels such as basic, hard or soft, is for Lucas ad Claxto quite problematic, for it ca set up artificial hierarchies ad boudaries which do ot always distiguish true value, impact or groupig. While there is o defiitive list of iovator dispositios, core elemets have bee idetified. I the 2009 report The idetificatio ad measuremet of iovative characteristics of youg people, Chell ad Athayde coclude that it is possible to idetify primary attributes commo to the may iovator types : the ivetor iovator; the cultural iovator; the corporate iovator; the iovative etrepreeur; the social iovator; ad the ecoomic etrepreeur. While the emphasis o skills may vary accordigly, iovators are collectively recogizable by their high levels of: Creativity: imagiatio, coectig ideas, tacklig ad solvig problems, curiosity Self efficacy: self belief, self assurace, self awareess, feeligs of empowermet, social cofidece Eergy: drive, ethusiasm, motivatio, hard work, persistece ad commitmet Risk-propesity: a combiatio of risk tolerace ad the ability to take calculated risks Leadership: visio ad the ability to mobilise commitmet 87 Detail o each of these attributes is available i the report, although a additioal few poits are worth highlightig here. The predomiace of these skills, ote the authors, will ievitably vary accordig to the differet stages of the iovatio cycle, with some more suited tha others for the phases of ideatio, opportuity recogitio, opportuity formatio ad opportuity exploitatio. 88 I their critique, Lucas ad Claxto argue that Chell ad Athayde have bee the most successful i idetifyig these habits of mid but add cocer that other importat competecies, such as resiliece, tolerace of ambiguity, ituitio ad questioig, are ot icluded. 89 As Chell ad Athayde have said, more work ca be doe withi this area ad probably will be over the ext few years. Risk-takig, for example, is oe of the most eglected ad uder-researched of the dispositios, while leadership discourse, o the other had, is already well uderstood. 90 Give opportuity ad ecouragemet, the skills ad dispositios of iovatio ca be developed i everyoe ot just the extremely taleted or those i certai subject disciplies. Experts like Chell ad Athayde propose that iovators are ot bor but made, a view that is forged by a belief i the power of social learig ad dyamics to shape people s behaviors, beliefs, attitudes, values ad skills. Formally kow as a social cogitive approach, this cotrasts with the perspective of trait theorists who propose that the impact of geetic dispositio o persoal experiece is more likely to limit or fix oe s scope. 91 The impact of social learig ad dyamics o youg people, however, has bee show to have great sigificace o self-idetity ad capacity buildig, particularly durig otoriously challegig times like the trasitio from primary ad high school. 92 Relevatly, the oe thousad youg people moitored i the study by Chell ad Athayde revealed that, the more academically gifted studets were o more likely to develop iovative capability the those who were less academic. 93 This fidig corroborates what Sawyer has previously argued, which is that schools should ot try to idetify ad urture a few special geiuses; istead, they should prepare all studets to participate i complex creative systems. 94 Similarly, iovatio relates to all subject disciplies, for may of them ca provide pathways for iovatio skillig, icludig the scieces, arts or vocatioally orietated subjects. Admittedly, some disciplies may Growig future Iovators: a scopig study 23

26 95 Perkis cited i Lucas & Claxto (2009:22) 96 Lucas & Claxto (2009:8) 97 Lucas & Claxto (2009:22) 98 Wy (2009:36) 99 Wy (2009:36) 100 Chell & Athayde (2009:18) be more predisposed to cultivatig certai abilities tha others. Yet, as Lucas ad Claxto suggest, perhaps the most productive, although challegig, emphasis is teachig the trasferability of these skills, from the disciplie where they may have first bee leared to the applicatio or refiemet of them i aother. 95 Listig iovatio attributes poses challeges but desigig the delivery, assessmet ad measuremet of them is the harder ad more importat part of the exercise. Lucas ad Claxto observe that wish lists from aroud the world that cotai desirable attributes for creativity ad iovatio have proliferated. Whether these have bee developed by govermet, research or third sector /idustry departmets, they reflect the growig eeds ad axieties of ecoomically competitive markets ad globalized workplaces, but also a risig social developmet ageda focused o wellbeig ad good citizery. 96 Yet i a assessmet of learig frameworks from coutries such as Australia, New Zealad, Filad, Irelad, America ad the UK, Lucas ad Claxto describe the lists as geerally lackig i at least oe, ad usually a umber, of ways. They may lack i coceptual coherece ad precisio, i that terms are iadequately differetiated or overlappig; they ca igore that some are perhaps more difficult or desirable tha others to foster or achieve; ad they ca disregard how differet learig eviromets may affect their cultivatio. Furthermore, lists or frameworks usually have implemetatio assumptios that are aive. While some have bee more rigourous tha others i addressig these kids of issues, the importat implicatio here for ay educatio program or reform is that: Uless the specific detail of wider skills is balaced with a equally clear descriptio of how they are to be cultivated i real schools, i real time, with real youg people teachers are likely to be bemused, ad the wider commuity may well react with icomprehesio, or eve hostility to the proposals. 97 This kid of pragmatism for how skills should be cultivated should also exted to how they are evaluated. Developig ways to accurately assess ad measure iovatio competecies is likely to be a major project for years to come. As Wy has poited out, there have bee great advaces i the last 20 years whe it comes to measurig withi schools, for techologies of measuremet have expaded to the poit that we have uprecedeted evidece about the outcomes of teachig ad learig. 98 To some extet, we are ow drowig i the plethora ad problems of this data. Teachers ad parets ca access data about studet satisfactio, teacher satisfactio, learig outcomes, school climate, academic achievemet, post-school destiatios ad may other thigs. 99 Although this may be the case, there are i fact very few measures that have bee specifically desiged to evaluate iovatio characteristics i youg people (or ideed ay other group), whether i regard to a idividual assessmet task or the logitudial impact of traiig over moths or years. The creativity ad outof-the-box qualities of iovatio mea that traditioal modes of appraisal may eed sigificat re-thikig. The research project led by Chell ad Athayde was explicitly set up to address this distict lack of accurate ad reliable methods i the teachig ad learig field. As oe of the first efforts to measure iovatio, they describes this challege ad its premise as follows: I seekig to embed ew practices, those advocatig educatio for iovatio are frequetly thwarted by the lack of a recogized system for idetifyig ad measurig the iovative capacity of youg people ad the impact of specific iitiatives. Devisig such a measure would help youg people to become more aware of their iovative potetial ad support them i developig their persoal profile. Moreover, this awareess should relate to the educatioal ad employmet pathways that youg people explore ad arm them with a set of skills that eables them to deal more effectively with icreasigly complex socio-ecoomic eviromets. From a policy perspective, this should help address the issue of log term capacity buildig. 100 This edeavour resulted i the creatio of a web-based questioaire, developed over 3 years. It was trialled with the ivolvemet of roughly oe thousad youg people 24 Growig future Iovators: a scopig study

27 101 Rudd et al. (2006) i the sixth form (17-19 years old), who were from twelve specialist arts, sciece or techology schools based i both city ad rural settigs i the UK. Focus groups ad a review of relevat policy ad academic research supported this case study work. Creatig the tool required refiig the aforemetioed key iovatio competecies i order to kow what to track. Its desig also required embeddig a persoal ad developmetal emphasis so that, whe used with appropriate ad meaigful feedback, it could cultivate ad moitor core dispositios of the idividual over time, as opposed to a exam or test that crudely distiguished iovators from o-iovators. Regardless of the studet s stated itetio to pursue a iovatio pathway, the questioaire was uaced i order to discer tedecies towards the various iovator types ad those who are perhaps ascet iovators. The tool is curretly beig developed eve further, yet it is still oly oe of may others that could be created by research ad educatio parterships. 2.3 The creative ecology of 21st cetury schools The capacity to educate for iovatio depeds o the rage of people ad practices that forge the health ad creative ecology of the school itself ad its adaptability to a 21st cetury ladscape. I a 2008 study, What s ext? 21 ideas for 21st cetury learig, Charles Leadbeater argues that a educatio framework for our time differs cosiderably from 19th ad 20th cetury models ad assumptios. Give such rapid ad radical social ad techological chage, it has become ecessary to revise ot just who we are learig from but also how, where ad whe we are learig, the way achievemet is assessed or bechmarked, ad eve the ways i which learig is fuded (see Figure 4). Proactive schools are startig to revise ad lead these ew approaches, ad reports like Futurelab s What if Re-imagig learig spaces, 101 are dreamig up creative scearios for what educatio ad schools of the future might look like. Figure 4: Schoolig past ad future (from Leadbeater 2007:69) Learig feature Past Future Where learig takes place Maily i schools I schools (icludig Studio schools, learig villages ad ope campuses), cultural cetres, busiesses, homes, virtual cetres ad other places across the city Who lear from Teachers Teachers, parets, other skilled adults, peers ad social etworks Learig mode Istructio Iteractio, collaboratio Whe Assessmet How Fudig I school terms ad hours Ed of the lie Focus o cogitive skills I classrooms, from books, whiteboards To schools ad school boards More learig by doig ad discovery All the time, i differet periods that more suit people s idividual learig Durig learig for better learig More peer-to-peer evaluatio ad selfevaluatio agaist learig plas More focus o o-cogitive skills More real world learig Schools as productive uits More to pupils, learig ad etworks Stadards / measures Top dow More bottom up targets ad self-evaluatio Growig future Iovators: a scopig study 25

28 102 Ladso-Billigs (2006) 103 Wy (2009:53) 104 Wy (2009) 105 Wy (2009:9) 106 Hoffert (2005:152) 107 Keatig (2009:22) 108 MCEETYA (2008) 109 Leadbeater (2008:back cover) 110 McWilliam (2008:86-89) For Leadbeater, this ew learig r/evolutio offers reewed hope. It couteracts a successio of educatioal reform approaches that have grow tired, irrelevat or staid, ad whose limitatios cotiue to perpetuate (ad eve accept) high levels of iequity ad achievemet gaps, most commoly amogst youg people from lower socio-ecoomic, culturally diverse or geographically challeged backgrouds. The sum of these iadequacies, brought about by etreched systemic, historical ad social processes, creates what Ladso-Billigs frames as a growig debt. 102 I relatio to this cost, Wy says, it takes time to repay a educatioal debt to a commuity ad the retur o the paymet ca, like the first mometous repaymets o a mortgage, seem trivial. 103 Leadbeater s diagosis ad call for chage is corroborated by Wy s extesive ad critical review of Australia educatio policies ad systems, which are revealed as outmoded, iflexible, oresposive ad iequitable. 104 Although policies have log recogized the eed for educatio to respod to social chage, they still ted to rest o traditioal assumptios about the preparatio of youg people to serve the ecoomy. There is a disjucture betwee educatioal policies that cotiue to frame educatio withi a archaic, idustrial model (istrumetal ad vocatioalist) ad requiremets that ecourage youg people to be good avigators of ew ecoomies, to live well ad egage with complexity ad diversity. 105 The problem lies i Hoffert s assertio that we educate for kowledge, ot for iovatio i it. 106 I thikig about ways to educate for iovatio oe ievitably cofrots the structural weakesses at the very heart of schoolig systems ad policy iitiatives. As Keatig states i the 2009 proposal for a atioal reform ageda, A ew federalism i Australia educatio: There are structural rigidities i Australia schoolig that are restrictig the quality of educatio ad educatio policy i Australia. These rigidities are located i relatioships betwee the state educatio systems, the o-govermet sectors ad federalism. 107 Without more flexibility, it will remai difficult to achieve the govermet s priority goals: schoolig that promotes equity ad excellece ad where all youg Australias become successful learers, cofidet ad creative idividuals, ad active ad iformed citizes. 108 Eve without major atioal reforms i educatio, however, a paradigm shift i teachig ad learig is occurrig. I his study of six iovative schools, Leadbeater sees this chage most clearly i those that are embracig the family, workplace ad commuity as well as the school as cetres for learig. 109 He cocludes that the kids of persoalized learig relatioships forged withi this wider etwork are what ultimately secures studet egagemet ad maximizes their achievemet ad satisfactio. 2.4 Learig parterships for iovatio Withi the 21st cetury educatio paradigm, teachig ad learig is beig framed as iheretly a partership edeavor, oe that is based o persoalized relatioships ad flexible, reciprocal etworks. Teachers as parters i learig: Hattie, McWilliam & Leadbeater have all observed that childre achieve ad ejoy most whe learig with, as well as from, their teachers at schools. Cotemporary approaches to pedagogy re-coceive the studet-teacher relatioship as most productive whe it is based o a co-learig dyamic. Chages i the traditioal role of the school teacher are described by McWilliam as the move away from a sage o the stage authority figure to a guide-o-the-side or a meddler-i-the-middle. 110 She argues 21st cetury teachers do cosiderably more tha deliver cotet packages derived from set curriculum; they desig learig opportuities, which offer studets: strategies for what to do whe they do t kow what to do ; supportive eviromets for experimetatio where failure or risk takig are ot shamed; styles of egagemet where oise, ucertaity ad argumet are part of the fu of learig ; ad cross-discipliary 26 Growig future Iovators: a scopig study

29 111 McWilliam (2008: ) 112 Wy (2009:5) 113 McWilliam (2008:127) 114 Wy (2009:59) 115 Wy (2009:48-50) 116 Hattie (2009:22) 117 Hattie (2009:26) 118 Leadbeater (2008:6) 119 Leadbeater (2008:47) 120 MCEETYA, 2008:10-11 experieces that fearlessly itegrate ew techologies ad become eriched by workig with cultural diversity. 111 It is also well documeted, however, that teachers are frequetly so overstretched i tedig to a wide rage of studet eeds that there is little time to reflect upo or refresh pedagogical style or cotet. This is especially so, give that: Curret approaches to teacher professioal developmet i Australia are pitifully fragmeted ad ofte superficial. I-depth learig that ca support iovatio ad chage is ot recogized i teacher salary scales or workig coditios. 112 If, as McWilliam says, teachers embody for a studet what a learer looks like, the they too must model the habits of learig expected of studets, ad must also be give opportuities ad support to iovate withi their specialties, curriculum, pedagogy or school. Teachers, it is argued, ca ivite youg people to become parters i the resposibility ad desig of dyamic learig. As Wy suggests, youg people ca be erolled as empowered decisio makers, etworked collaborators ad egaged co-creators rather tha passive learers. Give that they are the oes who are i fact touchig the future, she says, their active egagemet i the collective task of buildig skills ad kowledge for life ad work is perhaps the most importat elemet to be haressed. 114 I her view, studets who experiece their ow autoomy or ifluece i learig ot oly erich their importat task of idetity buildig, they also forge a crucial perceptio of themselves as learers ad self-avigators. 115 Pedagogical research suggests that what works for the teachers of iovatio will work for the studets of iovatio. I a epic sythesis of 50,000 studies ad 800+ meta-aalyses from aroud the world withi the last fiftee years, Joh Hattie distills key features that best support learig i school-aged studets. While a eormous umber of iovatios have bee explored i teachig practice over the years, Hattie s fidig is that: Visible teachig ad learig occurs whe learig is the explicit goal, whe it is appropriately challegig, whe the teacher ad the studet both (i their various ways) seek to ascertai whether ad to what degree the challege goal is attaied, whe there is deliberate practice aimed at attaiig mastery of the goal, whe there is feedback give ad sought, ad whe there are active, passioate, ad egagig people (teacher, studet, peers ad so o) participatig i the act of learig. The remarkable feature of the evidece is that the biggest effects o studet learig occur whe teachers become learers of their ow teachig, ad whe studets become their ow teachers. 116 Educatig for iovatio i schools, the, is a partered exercise. Whe goals are egotiated upfrot ad made appropriately challegig, studets ad teachers alike ca exercise commitmet, leadership ad learig. Chell ad Athayde s 2009 previously metioed study, although much smaller tha the two millio studets implicated i Hattie s meta-aalysis, also foud that goal-settig ad its rewards were a essetial compoet of buildig a safe eviromet i which pupils could take risks, be creative ad icrease self-cofidece. 117 Beyod the studet-teacher relatioship, learig also occurs with ad from a rage of iteral ad exteral school parters, icludig peer-to-peer ad child-to-paret dyamics. Leadbeater, i particular, argues that we have udermied the importace of studet s etworked learig. 118 I his words: Childre lear as much outside of school as i it. Uless schools ca build ew relatioships with their commuities, they will miss vital opportuities to ifluece how childre lear. Yet as they are curretly orgaized schools are ill placed to be able to egage i this wider missio. 119 Echoig this setimet, Australia s Melboure declaratio o educatioal goals for youg Australias states a eed ad commitmet to develop stroger parterships betwee all school sectors ad the broader commuity. 120 Parets, carers, families, busiesses ad other educatio ad traiig providers are all icluded i the defiitio of commuity, Growig future Iovators: a scopig study 27

30 121 Wy (2009:46,48), Keatig (2009) 122 Hattie (2009:104) 123 Hattie (2009:104) 124 Hattie (2009:61) 125 Leadbeater (2008:43-46) 126 Bridgstock et al. (i press) 127 Chell & Athayde (2009:26-27) 128 NESTA (2007a:3) 129 NESTA (2007a:3) yet critics of the miisterial declaratio poit out that uder the curret orgaizatioal structure ways to achieve this are ot well uderstood. 121 Peers as parters i learig: Hattie states that various studies of the past decade have ow show that the effects of peers ca be cosiderable although it is oted how ifrequetly peers are ivolved i the teachig ad learig process. 122 Frieds ad classmates, he says, assist each other i learig by providig social comparisos, emotioal support, social facilitatio, cogitive restructurig ad rehearsal or deliberative practice 123 all of which are highly relevat to cultivatig iovatio competecies such as creativity, eergy, self-efficacy, risk propesity ad leadership. Parets as parters i learig: Hattie also foud that, out of all the ifluetial factors such as family structure, eviromet ad various kids of paretal ivolvemet, it was paretal aspiratios ad expectatios that ultimately had the most sigificat impact o studet achievemet. A disjucture or breakdow ca occur, however, whe parets themselves struggle to comprehed the laguage of learig ad thus are disadvataged i the methods they use to ecourage their childre to attai their expectatio. 124 These kids of experieces ad iflueces must also be take ito accout whe desigig a educatio framework for iovatio. Commuity parters i learig: I the What s ext? report, Leadbeater otes that fosterig commuity etworks ad learig parterships will usually require radical reform withi the school itself. I spite of the umerous challeges ad disicetives this presets, however, he says that some schools are developig stroger relatios with their commuities through the followig four approaches: drawig o resources from the commuity to augmet the school s ow resources to expad opportuities for learig makig available their resources to beefit the commuity distributig their resources i smaller packages withi the commuity so that learig ca take place i differet settigs ad, most ambitiously attemptig to lead commuity regeeratio iitiatives likig educatio, culture ad employmet. 125 While there are may opportuities withi schools to educate for iovatio, extra-curricula opportuities curretly appear to be the preferable ad more realistic cotexts for iovatio learig. This argumet proceeds from the observatio that extra-curricula projects ted to allow studets ad teachers to follow their iterests more easily. They ca be egaged more fully i appropriately difficult projects over loger time periods, ad explore their ow risk-propesity with stroger permissio ad support. The fact that they ca provide a experietial, expressive ad developmetal focus as opposed to a more academic, assessmet-based approach, may accout for their appeal. Iterestigly, i a study of Australia iovators across the sciece, techology ad creative idustries, Bridgstock et al. foud that all had pursued extesive extracurricula opportuities givig them high level disciplie-specific kowledge as well as a rage of iovatio capabilities, startig at aroud middle school. 126 Chell ad Athayde also coclude that iovative potetial i youg people ca be stimulated through a wide rage of opportuities outside the formal classroom, whether the activity is egagig i a drama productio, caterig course, fashio show, a desig, techology or a art exhibitio. 127 Other NESTA research states: May schools are begiig to embrace the cocept of exteded schools, ad are deepeig commuity liks ad fuctioig as hubs for extra-curricula activities. 128 Te years o from the work of Shirley Brice Heath, author of Imagie actuality: Learig i the arts durig the oschool hours (1999), there is strog agreemet that: Iitiatives such as these could potetially improve educatio for iovatio whether through improvig opportuities for the developmet of soft skills, likig academic subjects to real-world problems, allowig schools to develop deep techical specialisms or allowig greater freedom i how to teach the curriculum Growig future Iovators: a scopig study

31 130 Daae & Facer (2007:26) Kirklad & Sutch (2009) The existig pressures o teachers ad schools, the sluggishess of top-dow educatio reforms, ad the freedom ad vibracy of existig extra-curricula iitiatives, are all reasos why oclassroom eviromets are sometimes the more feasible ad proactive way of fosterig iovatio. The take-up of iformatio ad commuicatio techologies (ICTs) is also a importat factor that eables a school s iovatio capacity. Orgaizatios like Futurelab ad Becta i the UK are desiged to assist teachers i embracig techological iovatios ad makig use of ew digital resources. This kid of techological chage is oly icreasig, ad schools are still fidig ways to effectively egage with it. I a 2007 report etitled, 2020 ad beyod: Future scearios for educatio i the ew age of ew techologies, Daae ad Facer predict that we are rapidly movig towards a eviromet i which: Iteractio with digital techologies will be more pervasive, seamless ad ivisible tha today ad will facilitate much of our everyday lives eablig ogoig iteractios with people, buildigs ad materials ad with a costatly coected etwork. We will be able to tap ito uimagiable computig power ad reliable storage capacity o the etwork, which will eable us to iteract with more itelliget (ad resposive) techologies, to outsource memory, ad to use simulatios ad visualisatio tools to solve problems, experiece alterative realities ad prepare for ew experieces. 130 To keep pace, a umber of research ad iitiatives have bee set up that allow schools to take advatage of existig Web 2.0 techologies ad provide the stories of practice from digitally ehaced classrooms. Futurelab, for example, established the program Teachers ad Iovatios, i order to develop prototype techologies, tools, techiques ad exemplars to support iovatio ad model ew ad dyamic educatioal practices. 131 The rigour ad ivestmet i such programs helps educatio istitutios to avoid beig left behid. Some educatioal authorities, however, have imposed firewalls for schools, which ihibits the use of ICT s i classrooms or formal learig situatios. While these policies are ofte about protectig studets, they ca sometimes read like cesorship or a uwilligess to eable iovatio. 2.4 Fosterig a culture of iovatio i schools A school s capacity ad support for iovatio is usually determied by seve factors: perceptios of iovatio itself; the health of a teacher s social etwork; levels of risk aversio amogst staff ad studets; the ature of the formal school eviromet; the type of leadership style; the existece of a shared visio; ad processes for maagig chage. These seve factors were idetified by Kirklad ad Sutch i their 2009 literature review Overcomig the barriers to educatioal iovatio, 132 which reveals the rage of practical ad philosophical ihibitors played out i micro to macro educatio cotexts. To paraphrase, the factors ca be uderstood as follows: The capacity for iovatio i schools depeds heavily o how iovatio itself is perceived or costructed withi the school commuity. The value or success of ay specific iovatio iitiative is usually forged by establishig a shared uderstadig of its distace from curret practice (how far or close it is from existig pedagogy), ad its depedece o u/ available resources (its viability ad impact). Kirklad ad Sutch observe that the kids of iovatios most likely to be adopted ad supported will be those that ca be: replicated easily withi local coditios, used by differet practitioers, ad that also offer logevity. Otherwise, the effort ad the iovatio are ofte perceived as too wasteful of time ad too cumbersome to trial. Iovatio i schools is strogly determied by the health of a teacher s iformal social support etwork: studets, colleagues, frieds, ad the persoalized learig etworks i ad out of school. If these etworks provide a atmosphere of creativity ad iovatio, a culture of sharig ew kowledge practices, ad/ or the spirit of a cohesive team, the a educator s ow ethusiasm, capacity ad resources to try out ew ideas will icrease. Growig future Iovators: a scopig study 29

32 133 Sutch et al. quoted i Kirklad & Sutch (2009:27) 134 Kirklad & Sutch (2009:3,8) Levels of iovatio also rely heavily o the formal eviromet of the school, that is, the ethos shaped by its ifrastructure, policies, fudig ad relatioship to atioal idustry bodies. This commoly dictates levels of support ad traiig for staff to pursue iovatio agedas. It ca also affirm or impede the amout of iteral ad exteral partership activity, which the affects the teams ad resourcig required for iovative ideas or programs. Risk aversio is aother key factor that determies a school s tedecy or dispositio to iovate risk of failure, risk of wastig time, risk of expediture that could t be justified, ad risk of criticism from parets, ispectors, goverors or studets. 133 Overcomig these fears ad cocers usually relies o whether a school s maagemet style or iterative chage processes ca evaluate ad supervise the risks ivolved. A wider scope ad higher reward for the risk will usually create more iovatio capacity. Effective leadership withi a school also affects iovatio levels, for it has the capacity to empower staff ad build morale, share resposibility for chage ad ispire outward lookig practice. It ca also haress the power of larger regulatory bodies. Leadership will also assist i cosolidatig ad commuicatig shared visios amogst school costituets. Shared visios create a sese of joit owership ad uderstadig of ay ageda or goal. Whe these are strategically liked or aliged with local or atioal perspectives such as wider iovatio policy ad agedas it ca impact strogly o iovatio s wider practice. Fially, a school commuity s systems for accommodatig chage will profoudly determie the practice ad support of iovatio. Effective chage maagemet strategies will usually ivolve staff at all levels ad allow time to itegrate or reew appropriate skills. If chage is maaged well, iovatio ca be itegrated ad ecouraged as a cotiuous process rather tha a oe-off evet. Barriers to iovatio are thought to be more successfully overcome whe schools fid local solutios rather tha waitig for the implemetatio of top-dow strategies or blaket policies. As Kirklad ad Sutch s review cocludes, idividuals ad schools will ofte be the more productive troubleshooters ad drivers of good ideas, for a model of chage that requires atioal strategies to pass dow ew approaches to teachig ad learig is too slow ad blut a mechaism. 134 Fidig more particular solutios to school-specific problems withi the resources available is more likely to ispire ew practices that might the fid tractio ad diffusio i wider, system level iovatio. I other words, a culture of iovatio will be more effective if fostered from the groud up, dealig with real solutios ad local challeges. As this sectio has sought to illumiate, the goal of educatig for iovatio is a complex challege for ay school. It requires a shift away from a idustrial-era paradigm towards teachig ad learig strategies that are more i tue with the 21st cetury ladscape. If schools wish to develop a creative ecology ad iovatio culture it will be essetial to draw o the support of various etworks ad parterships i learig. Accordigly, the ext sectio of this report looks specifically at arts educatio ad the role of cotemporary arts istitutios i this collaborative edeavour. 30 Growig future Iovators: a scopig study

33 3 Cotemporary arts istitutios ad educatig for iovatio Priscilla Bracks, Gavi Sade ad Matt Dwyer, Charmed (2007), Australia. Photograph courtesy of the Performace Space, Sydey. Growig future Iovators: a scopig study 31

34 135 Oakley (2007:5) 136 Oakley (2007:35) 137 Obama (2009) 138 Fiske (1999:11) 139 Doela et al. (2009:i) 3.1 Arts educatio for iovatio The arts have bee coected to the iovatio ageda ad system i a umber of ways, ad their capacity to educate for iovatio is oe of the themes most strogly argued. The literature suggests that the arts are importat i this area for two itersectig reasos: the dispositios ivolved i art makig ad presetig are similar to those required of iovators, ad the immersive, collaborative ad project-based modes of arts educatio pedagogy help to foster these. Yet the explicit liks betwee arts educatio ad iovatio are still largely uderexplored i policy ad research. This is oe of the poits made by Oakley, author of the report Educatig for the creative workforce: Rethikig arts ad educatio (2007). She states: Recet work o iovatio across the ecoomy suggests that it is precisely the habits associated with artistic creativity that are a vital, if eglected, elemet of curret iovatio policy. 135 Oakley also otes, however, that: what we curretly have is a otio of iovatio that looks very much like those practices developed i the arts, but very little research o how that coectio takes place. 136 Much arts educatio research discusses ad tests the beefits ad value of creativity ad the arts, as opposed to iovatio. Ad while creativity is surely a itegral part of iovatio, the relatioship betwee them is rarely teased out. What is clear, however, is that arts educatio is icreasigly valued i society, for it ca improve achievemet levels i youg people ad provide a more holistic approach to learig. As Michelle Obama puts it, arts educatio is essetial for buildig iovative thikers who will be our atio s leaders for tomorrow. 137 A recet survey commissioed by the Australia Coucil for the Arts, More tha bums o seats: Australia participatio i the arts (2010), foud that 90% of people believe that arts should be a importat part of the educatio of every citize, ad that they are a importat way of helpig people thik ad work creatively. Similarly, i a 2009 survey commissioed by the Departmet of Culture ad the Arts, 94% of respodets believed that it is importat for school childre to have access to lear ad have access to music, paitig, writig, drama ad the like, as part of their educatio. The last few decades of ivestigatio ito the impact of arts learig has doe much to cultivate this broad support, with ladmark logitudial studies such as Critical liks: Learig i the arts ad studet academic ad social developmet (2002), ad the Fiske report, Champios of chage: The impact of the arts o learig (1999). These detail the ways i which arts learig is iclusive, egagig, collaborative, ispirig, challegig ad highly relevat for egotiatig the realities of the twety-first cetury society ad workplace. The overall thesis, reaffirmed i a wealth of arts educatio literature, cocludes that, the arts ca ad do serve as champios of chage i learig, ad that we must make ivolvemet with the arts a basic part of [youg people s] learig experieces. 138 I Australia, the more recet report Parterships betwee schools ad the professioal arts sector (2009) cotiues to affirm this. Drawig o exemplars of arts parterships with Victoria schools, it argues they stregthe studet egagemet, social learig, persoalised learig, iovatio ad the developmet of arts-related kowledge. 139 Arts educatio ca be embraced i formal school eviromets but ca also improve iformal learig opportuities outside of this system. Reports such as Imagiative actuality: Learig i the arts durig the oschool hours (1999) by Brice Heath ad Roach have helped to build the case that arts educatio ca be usefully deployed i extra-curricular cotexts beyod the classroom (a poit that has also bee oted i Sectio 2). This opportuity, says Fiske, is ot always realized to its full potetial: The experieces we offer too may youg people outside of school are ofte limited i their purpose ad resultig impact. They provide recreatio, but o sese of creatio. They provide recess, but o 32 Growig future Iovators: a scopig study

35 140 Fiske (1999:11) 141 Persoal iterview (2009) 142 Xathoudaki et al. (2003), Howell (2009) 143 Hooper-Greehill (2007:1) 144 Creative Parterships is the UK Govermet s flagship creative learig program, desiged to develop the skills of childre ad youg people across Eglad, raisig their aspiratios, achievemets, skills ad life chaces. It has delivered programs i almost 2,500 schools i 36 of the most deprived areas of Eglad. sese of success. Arts learig outside of schools ca also ehace the sese of accomplishmet ad well-beig amog our youg people. 140 For Aa Cutler, Head of Educatio at the Tate Gallery, the itrisic power of arts learig lies i its holistic ad deeply humaist approach, which is eabled by three key aspects embedded i the creative process: The first is that it makes the abstract maifest, which is a very tricky thig, ad a very philosophical problem. Ad all the thigs we do t teach aywhere else i the lives of childre start to become critical. You have to imagie, you have to thik forward. You have to ot kow. You have to explore. You have to tolerate. You have to persist. I mea, these are all fatastic disciplies of mid for iovatio So, firstly, it is makig the abstract maifest. We do eed to do this. It matters i the world. Ad the, secodly, you have to accout for your object or your thig, which meas that it gets take ito the public realm. It suddely becomes this big social ad critical eterprise. It s flexig your itellectual muscles, because you have to egotiate the public realm. Ad the, thirdly, it s deliberately egaged with the emotios. Ad that s what art does it deliberately takes that o to commuicate somethig about who we are. therefore it s terribly persoal. So you see, you have the three realms that make you a huma beig the itellectual, social ad persoal Ad that, I would claim, is the added value of what our art ad culture brigs, because othig else i that combiatio does that Learig through cotemporary arts ad cultural istitutios As the burgeoig field of gallery ad museum studies shows, the last few decades have see cotemporary art istitutios place sigificat emphasis o developig arts learig programs for youg people. This has bee part of a larger shift udertake by cultural istitutios more geerally, where museums, galleries ad libraries have icreasigly prioritized visitor experiece, participatio ad educatio. Areas of scholarship such as Istitutioal Critique ad Museology documet this educatio tur, which bega i the early twetieth cetury but has come ito its ow i the twety-first. 142 Hooper-Greehill describes this sector chage as follows: At the begiig of the twety-first cetury, museums are re-orietig themselves through imagiig afresh what they ca become; familiar practices are beig reassessed ad tired philosophies are beig overtured. New ideas about culture, society ad ew policy iitiatives challege museums to rethik their purposes, to accout for their performace ad to redesig their pedagogies Oe of the key dimesios of the emergig post-museum is a more sophisticated uderstadig of the complex relatioships betwee culture, commuicatio, learig ad idetity that will support a ew approach to museum audieces; a secod basic elemet is the promotio of a more egalitaria ad just society; ad liked to these is a acceptace that culture works to represet, reproduce ad costitute selfidetities ad that this etails a sese of social ad ethical resposibility. 143 More tha ever before, cultural istitutios reach ad seek to be of value to a rage of audieces beyod traditioal, specialist or elitist groups. As part of this access ad iclusivity, childre, families, teachers ad schools have become prioritized visitors, evideced i the sigificat resourcig of staff, space ad fiaces for iitiatives variously described as educatio, learig, egagemet or participatio programs. These programs are o loger a toke or o-the-side compoet. Icreasigly these orgaisatios are dialoguig with youg audieces ad fidig ways to ispire, educate ad egage. A example of this ca be see i the extesive cosultatio iitiative, Today Tate, curated by Tate Moder, oe of the most popular cotemporary art museums i the world ad with 60% of its audiece ow uder 35 years. I associatio with Creative Parterships 144, British Telecom ad Chael 4 Televisio, Tate Today is described as oe of the most extesive cosultatios ever Growig future Iovators: a scopig study 33

36 145 Tate Moder (2007) 146 Creative Parterships (2008) 147 Xathoudaki et al (2003:1) 148 Persoal iterview (2009) 149 Persoal iterview (2009) orgaised with youg people across Britai o Tate s plas for the future. The press release of the time reads: O 29 May 2007, 150 youg people from across Eglad will be ivited to Tate Moder to take part i a day of workshops, which will explore differet optios for the ew developmet of the buildig. The evet will culmiate with the first ever giat sleepover i the Turbie Hall i tets geerously doated by Millets, which the youg people will pait themselves takig their ispiratio from the Tate Collectio. There will be a programme of late-ight workshops ad films created by leadig cotemporary artists. The cosultatio will be developed atiowide through a olie programme created i associatio with BT ad a series of shorts commissioed by Chael 4. I Autum 2008, Tate will stage the first From My Space to Your Space Coferece which is plaed to take place simultaeously i all four Tate galleries. This will be orgaised by youg people themselves ad adults will oly be able to atted by ivitatio. The coferece will culmiate with the publicatio of the first ever youg people s Creative Maifesto for Britai i the 21st cetury. 145 The eightee-moth cosultatio egaged over three thousad year olds through olie discussio, face-to-face coversatios, group debate ad video iterviews by youg people cavassig the views of their peers. Debate focused o questios such as How could schools be differet? What could their teachers ad other people workig i the creative idustries do to help? How could they develop the best eviromet i which to make creative decisios ad form ideas? How do orgaisatios respod to their eeds? 146 It culmiated with te school groups each presetig a maifesto poit to the Cultural Secretary of Eglad. Two additioal poits were voted o ad added later. I order to be more creative, they proclaimed: 1. We wat less formality i schools ad more creativity i the classroom. 2. Chage the curriculum so that our subjects reflect our lives. 3. Create spaces where we ca vet our creativity. 4. Let us have opportuities to take risks so that we are ot afraid to try ew thigs. 5. We eed metorig help to get us ito the creative idustries. We do t kow how it works. 6. We eed to gai cofidece i ourselves. 7. Allow us to lear from each other, to get fresh ideas from cultures other tha just our ow. We wat to mix it up. 8. We eed it to be easier to use the iteret at school. 9. Ivest moey i us because we are the future. 10. We are prepared to start at the bottom ad make our way up. 11. We wat time for out of school activities ad we wat them to cout towards our qualificatios 12. Give us the choice betwee exams or course work. Sigificatly, this list covers may of the poits made i Sectio 2 of this report, which addressed what schools required i order to educate for iovatio. It suggests studets wat room to be more creative ad iovative. Cotemporary art istitutios have proactively sought to become iclusive, accessible spaces, ad more orgaized sites for formal, iformal ad lifelog learig. A skeptical view might suggest this pheomeo has bee drive by a uderlyig cosumerist ad audiece developmet ageda rather tha a geuie educatio iterest, feedig the somewhat critical view of the museum as provider of the extraordiary, of spectacle ad sesatio. 147 As Adrew Clark, Deputy Director, Programmig ad Corporate Services, Queeslad Art Gallery commets, whe we started out, there was a lot of cyicism aroud Oh, it s just a marketig exercise, which I foud really a bit disigeuous towards what we were tryig to do. 148 The sheer sophisticatio of traiig resources, programs ad staff i the field of arts educatio ad gallery based learig suggests that, at its core, there is cosiderable expertise ad value i this work. I the words of Adrew Clark, workig with some of the world s leadig cotemporary artists to develop works for a childre s audiece is really a very excitig part of ew museology today Growig future Iovators: a scopig study

37 Maifesto for a Creative Britai (2008), photograph by Ady Aitchiso. Photo courtesy of Tate Moder, Lodo. 150 Bakhshi ad Throsby (2009:3) 151 Bakhshi ad Throsby (2009:2) 152 Bakhshi ad Throsby (2009:5) 153 Oakley (2007: 31-35) Notably, the study of iovatio as it relates to cotemporary art istitutios has had little aalysis ad reportig, but this is startig to chage. Oe of the few studies addressig this topic directly is the NESTA report by Bakhshi ad Throsby, etitled Iovatio i arts ad cultural orgaisatios (2009). It ackowledges that, recet studies say ext to othig about iovatio types ad processes as they relate to publicly supported arts ad cultural istitutios. 150 Their literature review poits out a key difficulty i eterig this uder-reported field: The cocept of iovatio itself is ot at all clearly defied whe applied to orgaisatios i the arts. Little is kow about the various ways i which these istitutios egage with, adopt, utilise ad cotribute to processes of iovatio. This is partly because of a lack of a systematic uderstadig of how iovatio relates to the fuctios of such cultural eterprises, ad partly because of a lack of a established methodology for quatitative aalysis of iovatio processes i the cultural sector. This gap i kowledge about iovatio i arts ad cultural istitutios creates the potetial for serious cofusio, as arts fuders call o orgaisatios they are supportig to be more iovative i their work without beig explicit about what they mea by iovatio. 151 For Bakhski ad Throsby, creatig better ways to track the iovatio-based activities of cultural istitutios is i itself a importat area of iovatio. They hope to see cultural istitutios searchig for ew ways to measure the ecoomic ad cultural value they create for audieces ad their wider group of stakeholders, ad to traslate these ito terms that policymakers, fudig agecies ad private ivestors ca relate to A questio of evidece While assertig the liks betwee cotemporary arts programs ad educatig for iovatio is ripe for exploratio, problems of evaluatig ad appraisig are ogoig for researchers. As Sectios 1 & 2 of this report have already emphasised, idetifyig ad measurig iovatio itself remais difficult. Additioally, research withi arts educatio ca ecouter problems of reliability, with cotroversy over appropriate ad valid methods of evaluatio. Oakley has précised may of these cocers, which suggest that scholarship is ot always providig robust empirical data. 153 She states, for example, that the replicatio of Growig future Iovators: a scopig study 35

38 154 Xathoudaki et al (2003:3) Equire (2009) 157 www. ispiriglearigforall.gov.uk 158 Hooper-Greehill (2007: 44-62) studies is rare, cosistecy of measures are ofte o-existet, termiology ca be poorly defied or vague ad also that this work ca too ofte adopt a overly advocacy-like approach. I additio, criticisms have bee made about the absece of cotrol groups, the small scale ad sample sizes of research projects, ad that the field at large has a over reliace o the case study method. This complexity of metrics ad desig is further compouded by a geeral lack of logitudial critique, makig it difficult to accurately assess learig ad impact of arts learig over a substatial period of time. As already oted, measurig capabilities such as imagiatio, ituitio ad creativity is a ogoig project for researchers. More thikig ad experimetatio is required to geerate ew ad reliable assessmet tools ad methodologies cocerig iovatio, but also arts learig. To satisfy may of the cocers, oly a diversity of quatitative, qualitative ad creative-based approaches is likely to provide a thorough, iclusive picture. As may of the iterviewees for this scopig study cofirmed, the implemetatio of programs is ofte so demadig that logitudial evaluatio ad research by iteral staff aloe is rarely possible. This echoes the fidigs of a iteratioal group of arts educatio researchers who state that: i the rush for lively programmig which is so ofte imposed as a result of istitutioal pressure or expectatios, a great deal of iovative practice goes ureported ad may educatioal issues do ot get adequately debated i the wider world. 154 Evaluatio is udertake to the extet that fudig is able to be acquitted or program approaches ad relatioships ca be refied. But to explore the broader coectios deeply ad over time, ad to brig a formal rigour ad aalysis to this body of work will usually require collaboratio with research parters ad etworks. Previous research ito the impact of museum learig ca be used to iform the coget desig of ew research models for uderstadig iovatio withi the educatioal programs of cultural istitutios. Much ca be leared, for example, from the gallery-based learig orgaisatio Egage, 155 who coordiated the largest systematic review i Eglad to focus o how childre ad youg people ca lear through galleries, cotemporary art ad artists. From 2004 to 2008, the equire programme was carried out through clusters or teams of galleries, parter schools/youth groups ad artists, ad higher educatio istitutes which costituted the atioal research cosortium. The aim was to work collaboratively across the professios to develop excitig opportuities for childre ad youg people to lear through egagemet with cotemporary art, whilst researchig the learig beefits ad coditios for that learig. 156 Much of the work of equire deepeed the fidigs of a earlier UK study, the Learig Impact Research Project ( ), udertake through the Ispirig Learig For All iitiative. 157 LIRP refied a succict framework for uderstadig aggregated learig outcomes of museum ad gallery learig, which, i geeric terms, are described as the capacity to 1) provide ejoymet, ispiratio ad creativity, 2) ehace attitudes ad values, 3) impart skills, 4) develop kowledge ad uderstadig, ad 5) improve actio, behaviours ad progressio. 158 If the idea of educatig for iovatio is brought to bear o these five poits, the we may well develop a tool to uderstad ad evaluate the impact that cotemporary arts istitutios ad their educatioal programs ca create. That is, we could evaluate: the ejoymet ad ispiratio of iovatio; the values ad attitudes of iovatio; the iovatio skills; the kowledge ad uderstadig of iovatio; ad the iovative actios ad behaviours. Whilst drawig o the richess of existig research projects like LIRP is importat, i this scopig study we have also attempted to survey first-had the way leadig cotemporary arts ad cultural istitutios ca coect schools ad youg people to iovatio. These fidigs are outlied i the followig sectio o the form of seve associative liks. 36 Growig future Iovators: a scopig study

39 4 Seve ways cotemporary arts istitutios coect schools with iovatio The Learig area at the BALTIC Cetre for Cotemporary Art, viyl drawig by Yoshitomo Nara. Photograph by Da Brady, Courtesy of BALTIC, Gateshead, UK. Growig future Iovators: a scopig study 37

40 This sectio draws o may examples of learig programs for youg people ad schools that were gleaed from iterviews with eightee major cotemporary arts ad cultural istitutios across Australia ad the UK. Garerig this rage of voices has helped us cosider if ad how these iitiatives might be liked to iovatio. We are grateful to the iterviewees ad their host istitutios for givig us their time, expertise ad ethusiasm. Whilst the study has ot yet solicited the voices of artists, youg people or teachers, future phases of the research ited to iclude these. Withi Australia, eight well-kow orgaisatios were chose that ecompass the visual ad performig arts as well as music, two of which were festivals rather tha veue-based istitutios: The Alfred Brash SoudHouse, Victoria Arts Cetre, Melboure (Peter Wakefield, Program Maager, ad Adria Alexader, Maager of Digital Cotet ad Multimedia Learig) AWESOME Arts, Perth (Jey Simpso, Chief Executive Officer) The Australia Cetre for Cotemporary Art (ACCA), Melboure (Shelley Hito, Schools Educatio Coordiator, ad Adrew Ladriga, Public & Educatio Program Maager) The IDEAS Festival, Brisbae (Michael Peterso, Artistic Director, ad Jae O Hara, Educatio Program Director) Malthouse Theatre, Melboure (Fioa James, Head of Educatio) The Museum of Cotemporary Art (MCA), Sydey (Emma Nicolso, Seior Maager of Educatio ad Access) The Performace Space, Sydey (Talya Rubi, Audiece Developmet Officer) The Queeslad Art Gallery (QAG) / Gallery of Moder Art (GoMA), Brisbae (Adrew Clark, Deputy Director, Programmig ad Corporate Services ad Kate Rya, Curator, Childre s Art Cetre) Jambird s Metadace i Resoat Light (2008). Photograph courtesy of the Perth Istitute of Cotemporary Arts, Perth. 38 Growig future Iovators: a scopig study

41 Good Vibratios carava. Photo courtesy of the Museum of Cotemporary Art I order to provide a fuller, comparative picture, te cotemporary art istitutios were also iterviewed i Eglad, as the UK has supported a rage of ambitious arts educatio programs ad iovatio discourse iitiatives. These orgaisatios were: Arolfii, Bristol (Hele Davies, Head of Educatio ad Jill Nicol, Head of Iteractio) BALTIC Cetre for Cotemporary Art, Gateshead (Hele Burs, Schools ad Colleges Programmer) Battersea Arts Cetre, Lodo (Alexadra Tomkiso, Participate Director) Camde Arts Cetre, Lodo (Aa Vass, Educatio Project Programmer, ad Be Roberts, Program Coordiator) Cotact Theatre, Machester (Baba Israel, Artistic Director, ad Suzie Hederso, Head of Creative Developmet, with Seda Jackso- Smith, youth leader ad Uwe Grõschel, researcher) FACT: Foudatio for art ad creative techology, Liverpool (Agela Cowa, Educatio Maager, ad Aa Kroeburg, Educatio Coordiator) Serpetie Gallery, Lodo (Sally Tallat, Head of Programmes) Tate Britai, Lodo (Felicity Alle, Head of Learig, ad Harriet Curow, Head of Youg People s Programmes) Tate Moder, Lodo (Aa Cutler, Head of Learig) Whitechapel Gallery, Lodo (Selea Leviso, Schools Curator) Semi-structured iterviews with each orgaizatio triggered discussio across a rage of subjects, icludig: the istitutio s curatorial remit ad if there was a implicit or explicit objective to be iovative; the istitutios perceptio of their more iovative programs for schools ad the relatioships of those programs to school curricula; ways i which those programs were thought to model or impart skills for iovatio; barriers or ihibitors to iovative programmig, ad the parterships that offered leverage i overcomig these challeges. Uless otherwise cited, quotes withi this sectio are take directly form these iterviews. Ideas ad evets discussed i the iterviews have bee selected ad orgaised aroud the seve key themes that emerged from the project s fidigs. It foud that that cotemporary arts istitutios ca coect schools to iovatio though their cultivatio of: cotet, methods, skills ad dispositios, pedagogies, parterships, istitutioal practices, ad cotexts. Growig future Iovators: a scopig study 39

42 159 See full descriptio at Blast Theory (2010) 160 Queeslad Art Gallery (2009:213) #1 CONTENT Cotemporary arts istitutios ca coect schools to artistic ad cultural iovatios ad iovators by presetig real-world examples of ew ad historical iovatios ad iovators ad coectig audieces to the stories of coceivig, applyig ad dissemiatig ideas. Presetig ew ways of makig, represetig, critiquig ad imagiig the world ad huma experiece is core busiess for cotemporary arts istitutios ad oe of the thigs they do best. Their programs expose audieces to devised ad experimetal works that ofte push the boudaries of what has goe before. Jey Simpso, from AWESOME Arts i Wester Australia, describes the cotemporary arts as puttig oxyge ad eergy ito the culture. At its most powerful, explais Aa Cutler from Lodo s Tate Moder, art ca restructure boudaries aroud thought: it asks, What if? It takes us beyod ourselves. That s why it s ot just etertaimet. For Fioa James of the Malthouse Theatre i Melboure, iovatio is quite simply the curriculum of these orgaizatios. Oe example of iovative cotet is the Rider Spoke 159 performace by Blast Theory, preseted recetly by the multi-arts cetre Arolfii i Bristol. This was a collaborative performace usig game play, bicycles, wi-fi techology ad hadheld computers i the style of persoalized choose your adveture. Spectators co-created the evet while cyclig through the city fidig hidde places to make ad exchaged itimate recordigs based o persoal memories. This kid of evet would have bee uthikable before the advet of game theory, ew media techology ad the growig iterest i site specific performace. Cotemporary artists are ofte commissioed by istitutios to make iovative works that specifically ivite youg people to be creative. The Asia Pacific Trieial (APT), hosted by the Queeslad Art Gallery has created a traditio of facilitatig collaboratios betwee iteratioally acclaimed artists ad youg people as part of the exhibits sice it bega i I the most recet Kids APT, a rich ad varied program icluded a major work created by the artist Shiraa Shahbazi with childre. Adrew Clark explais: To create Shiraa Shahbazi s paitig for Kids APT, a workshop was coducted at the Childre s Art Cetre with a group of local Brisbae childre. Discussios itroduced the paitig project, the artist ad her work, as well as a brief history of the still-life gere, ispirig the participats to compose their ow still-life arragemets. The subject of the arragemets was a rage of tropical fruits, flowers ad vegetables readily available i Queeslad. The resultig compositio of cocouts, hibiscus, foliage ad fruits was professioally photographed ad set to Shahbazi, who is based i Zurich, Switzerlad. The artist the selected a image ad prepared it for the ext stage the image was trasformed ito a immese paitig by billboard paiters i Ira. After passig through may hads across the globe, the ed result is a collaborative paitig o display i the Childre s Art Cetre for APT I a variatio o developig origial artworks with youg people ad schools, the Museum of Cotemporary Art (MCA) i Sydey commissioed New York soud ad media artists Bruce Odlad ad Michale Luck Scheider through the Bella Program for Youth with Specific Needs. They had worked with studets ad with childre with special eeds i their hospital i New York says Emma Nicolso from the MCA, ad they discovered that they respoded really well to vibratio ad to soud. For the commissio, this led to the makig a iteractive istallatio called Good Vibratios, a highly tactile, multi-sesory ad techological eviromet desiged for mixig foud images ad souds. Elaboratig o the result of the two-moth residecy, Emma Nicolso reflects: 40 Growig future Iovators: a scopig study

43 Local school childre create still-life compositios to be set to artist Shiraa Shahbazi for use i Still life: Cocout & other thigs 2009 for The 6th Asia Pacific Trieial of Cotemporary Art. Photograph: Natasha Harth. So what we have is a 1960s carava that s bee completely gutted ad tured ito this kid of multi-sesory space. It goes out to schools ad we deliver workshops. The carava kid of operates almost like a brai. If you imagie, the frot of the carava is the face ad it has its eyes ad ears. The eyes of the carava are two live-feed video cameras that come i, ad there are two widows. Studets ca maipulate the image, with squeezy hadles. The there are two coiled pieces of tubig that go out with microphoes ad ito the surroudig eviromet collectig the soud, which is brought i to the carava. Through the squeezy hadles, you ca maipulate what you ca see ad hear. At the back, at the rear, of the carava is what we call the memory, where there are stored images ad souds gathered at each site by studets who participate i the workshops. So we gather this iformatio ad it gets fed ito the computers at the back of the carava. With our A/V techs, a soud is matched to a image. The image is maipulated i Photoshop so that the toal qualities ca chage. Whe that s all i place, agai depedig o the level of ability of the studets, they will work with the A/V techs to see how souds ad images get matched ad how the programs work. Through touch paels, much like a visual mixig desk, you ca pull up ad chage the image ad the soud. But you really eed oly to have very little mobility or motor skills. Growig future Iovators: a scopig study 41

44 161 Queeslad Art Gallery (2007) The programmig of talks, tours, catalogues ad iteractives that commoly accompay exhibitios ad performaces help to story ad persoalize the process of coceivig, makig ad iovatig. The Queeslad Art Gallery, for istace, has led the way i desigig ovel iteractives for youg people. Oe of may examples is Cai Guo Qiag s Bridge crossig, preseted at the third Asia Pacific Trieial: Desiged to complemet his major work i APT3, Blue drago ad bridge crossig, a large scale istallatio ecompassig a 30-metre log bamboo suspesio bridge costructed over the Gallery s Watermall Cai exteded a ivitatio to childre to desig ad costruct a bridge usig the simplest of materials: tape ad cae. To provide childre with ispiratio, the artist sketched 79 lie drawigs of various bridges, revealig varied approaches, some faciful, others basic ad fudametal. Over the course of the exhibitio, childre visitig with parets ad carers egaged with the artist s ideas through the egieerig of their ow bridge models. Iteractive projects ad evets such as this brig audieces closer to the creators, their iflueces ad impact, eve i the case of historical lumiares. Durig the blockbuster exhibitio of Ady Warhol at the Queeslad Gallery of Moder Art, the Childre s Art Cetre was trasformed ito the artist s famous New York studio, The Silver Factory. As well as viewig the bold ad pioeerig works that made history, childre could take part i a rage of related activities. They could, for istace, watch a live Warhol-ispired fashio parade; view the superhero cartoos that ispired the artist; take a olie quiz or access biographical aimatios through computer touch screes; create Warhol-esque time capsules, photo-booth portraits ad shoes; have a scree test to experiece the idea of 15 secods of fame ; ad desig the missig letters of Warhol s alphabet pictures. Perhaps it was this immersed egagemet that ispired oe child s isightful descriptio of Warhol, expressed i his etry for the What I thik about Ady Warhol competitio, as a ordiary guy who made extraordiary art with ordiary thigs. 161 A youg visitor s bridge costructio made as part of Cai Guo Qiag s Kids APT artist project for The Third Asia Pacific Trieial of Cotemporary Art i Photograph: Natasha Harth. 42 Growig future Iovators: a scopig study

45 Youg visitors to The Silver Factory: Ady Warhol for Kids iteract with Warhol s 1966 istallatio Silver Clouds at the Ady Warhol exhibitio i Photograph: Natasha Harth Egagig with iovators of all ages ad domais was the focus of The IDEAS Festival i Brisbae, a trieial evet established to preset ideas, promote public debate, ad to foster ad celebrate iovatio. 162 I 2009, Queeslad s Year of Creativity, the festival lauched its first dedicated program for schools, the Thik Do Tak, which was held i the cultural precict of the Queeslad State Library ad the Gallery of Moder Art. This program for studets i years 6 to 10 cosisted of lectures, paels ad short workshops with artists, futurists, ispirig youth, scietists, urba plaers ad may other kids of iovators. Jae O Hara, the festival s Educatio Program Director, says there s actually somethig very powerful about beig i the same room as someoe as they speak passioately. As she sees it, broad exposure to actual iovatio exemplars helps to reiforce that there is o oe formula for iovatig. Her choices i programmig were iformed by youg people themselves, through a cosultatio group she set up at the start of her appoitmet: The advisory team was from a ier city local primary school, te Year 7 studets, ad they brought such air to those programmig cosideratios. Their iterest i desig, ecology ad the eviromet, ad their role i creatig a sustaiable future for themselves, really gave me a opportuity to study ad to liste to what they were sayig ad the iterpret that... Ad we made sure we had youg people speakig o the stage as well, so they could really relate to them. Growig future Iovators: a scopig study 43

46 163 The Learig Place is a elearig iitiative by Educatio Queeslad that promotes olie learig ad commuicatio tools for staff ad studets, such as virtual project rooms ad playgrouds, sychroous chats, threaded discussios, voice ad data coferecig see learigplace. 164 Seear (2009:32) 165 Seear (2009:33) 166 Seear (2009:33) Istitutios make strog efforts to develop access ad commuicatio strategies that esure these veues, programs ad artists are easier for schools ad youg people to egage. I cases where travel was too expesive or time cosumig, The IDEAS Festival utilized web techologies through a partership with The Learig Place. 163 Midway through the evet, Jae O Hara said, there s bee 1500 kids i classrooms across Queeslad i the last two days talkig olie to our speakers. Revealig aother approach, Ly Seear, Deputy Director, Curatorial ad Collectio Developmet, Queeslad Art Gallery says, Oe of the most importat tools we use i providig our childre s programmig, i all its diversity, is laguage. 164 Elaboratig o their extesive use of iterpretive laguage ad sigage for youger audieces she states: I these programs, a specialist laguage about art ad artists, developed just for kids, their parets, teachers ad carers, is a frotlie tool, every bit as importat as display methods or other iteractive strategies. We use this laguage everywhere i labels ad didactics, i activity booklets, iformatio sheets, timelies, o our website, i floor talks ad durig workshop activities. 165 At the heart of this strategy, otes Seear, is the use of story: we reach out to them with a arrative about every work. 166 I much the same way, cotemporary art istitutios at large are itroducig youg people ad schools to stories of iovatio ad iovators, through direct egagemet with artworks ad artists. 44 Growig future Iovators: a scopig study

47 167 SoudHouse is a iteratioally affiliated etwork ad this particular ode was established i #2 METHODS Cotemporary arts istitutios ca provide schools with access to, ad experimetatio with ew media techologies ad a rage of other iovatio products ad processes by cultivatig active creators rather tha passive cosumers ad sharig iter/discipliary ways of egagig with the cycles ad phases of creativity ad iovatio. Beyod their presetatio programs, workshops offered by cotemporary arts istitutios ca give practical experiece ad itroductio to ways that artists maage ideas, materials, processes ad techologies. The value i this, says Fioa James from the Malthouse Theatre, is that it eables participats to origiate, to imagie for themselves, ad actually create somethig that s ot give to them, that s their ow. Jey Simpso from AWESOME Arts believes the importace of such opportuities is much broader tha the potetial to geerate youg artists ad is ofte more about exposig studets to various tools, givig kids other optios, other ways of thikig, that they may choose to take up or ot. Methods used by cotemporary artists are ofte highly geerative ad reveal ways i which iovatio ca be seeded. I m lookig at the collectio ot i terms of objects, but i terms of practices,, says Aa Cultler from the Tate Moder. These practices she sees as ecapsulatig the model of creative learig whereby you idetify a problem, have diverget thikig about it, ad stretch for origiality. Some arts orgaisatios assist schools with the access ad uptake of ew media ad web techologies, developig visual ad digital literacy ad ew ways to realize ideas. The Alfred Brash SoudHouse 167 is this kid of arts educatio hub. Based at the Arts Cetre of Victoria it specializes i the use of music techology ad electroic media such as video, aimatio ad web desig. Adria Alexader, the director from 1991 to 2005, explais that the guidig philosophy of its foudig father, Alfred Brash, was to create a legacy that provides a opportuity for kids to experiece the creative process ad if they did t go o to develop a particular passio ad become part of the ogoig creative process, at least Photograph courtesy of the Alfred Brash SoudHouse, The Arts Cetre, Melboure Growig future Iovators: a scopig study 45

48 168 The Arts Cetre (2010) to uderstad what the creative process is. Programmig at SoudHouse is drive by the firm belief that youg people are better as active creators rather tha passive cosumers of music techology, ad also the idea that experimetig with ew techologies ad explorig their applicatio i the classroom is vital to creatig more challegig ad iovative learig experieces for youg people. 168 Reflectig o his first year of ruig the orgaisatio, Adria Alexader says: my immediate respose to the powers that be i the idustry ad the Arts Cetre was to say, look, we really eed to do somethig that allows kids to create, ad allows them to take away the products that they create. So, we eed to look at extedig their visitatio, we eed to look at them beig able to be the creators of the product, whether they come for a whole day, or they come for a series of twohour sessio over six weeks, ad achieve curriculum outcomes via their participatio. I realizig this visio, SoudHouse facilities iclude idustry stadard digital audio ad video workstatios, iteractive whiteboards, projectors, musical gear ad the like. Adria Alexader describes why ad how a school visit to these creative studios occurs, ad the skills trasfer the programs strive to ecourage: Ofte, it might be that schools will come i who, back at school, have three or four computers with a particular software, but they have a class of 25 or 30. So, that meas they re tryig to ru multiple activities i the classroom so some kids ca use techology. Ad that s just ot fair, ad icredibly demadig o teachers. So, oe of the ways of doig this is sayig, OK, let s come i here. Ad we ll go through the process of what it is that we re tryig to create, what is a brief, how does it fit, what skills we re learig o the way. Let s do the evaluatio as we go. Let s costatly moitor the product. Ad at the ed of the day, we get to take somethig home that is the full creatio. But, we re also sayig, at the very ed of that process, Now that you ve doe that, why do t you thik about that as a meas, the skills that you ve leared, the visual thikig that you ve had to do why do t you thik of that as a potetial way of dealig with other curriculum requiremets... So, whe somebody says you ve got to do a presetatio, whatever the theme or the topic or the focus might be, we say, well, you could do a PowerPoit, you could write a essay, or you could do a talk i frot of the class. Or aother way you could do this is to use the media skills that you ve developed, to actually go out ad use some of the available techologies, use the video cameras i the school, do some audio recordig, write some music, put together somethig comprehesive. Ad the, with schools that are well ad truly ahead of this ad startig to develop that Web 2.0 egagemet, the kids go, Let s upload this. Ad they start commetig o it ad get feedback o it, usig it as a resource that the teacher might be able to use as stimulus for somethig else, ad it s aother level of curiosity for kids. SoudHouse also provides a outreach iitiative called SoudHouse o Tour, a portable creative techology expo, with lowcost traiig days across regioal Victoria. Its director Peter Wakefield says of SoudHouse, It s about equity ad access givig to kids that do t have access to this kid of techology ad expertise. Whether otour or osite, curriculum-liked workshops are offered to studets as well as teachers for, as Adria Alexader explais, uless we were able to ifluece the people who were operatig back at the coal face, the chalk iterface the our impact upo the uptake of the techologies ad the applicatios of those very early themes about kids beig creators would have a limited life. Coachig teachers ad studets i the uptake of ew techologies is also a aim of the Foudatio for Art ad Creative Techology (FACT), i Liverpool. Based i a state-of-the-art purpose-built ciema, art gallery ad media suite, its aim is to pioeer ew forms of artistic ad social iteractio with emergig media ad raise public debate aroud the social impact of ew techologies. 169 Not ulike SoudHouse o Tour, the orgaisatio recetly established a iitiative called FACTs i a Box, a self-starter 46 Growig future Iovators: a scopig study

49 kit cotaiig film equipmet, cameras, books ad work sheets, which ca be booked out from local schools or City Learig Cetres. The outreach kits ca be used idepedetly, or, as Agela Cowa says, we ca also sed a artist i to deliver quite short skills-based workshops with them so they ca use the equipmet. Where regioal audieces are cocered she says, it is better for us to go there to have a bigger impact o that commuity. Overcomig distace i a differet way is FACT s olie filmmakig ad social etworkig iitiative desiged for grade 12 studets. Set up i collaboratio with the art ad techology ceter Eyebeam i New York, the project is coducted across class time & study periods. FACT s Educatio Coordiator, Aa Kroeburg, explais the cocept: We live lik schools based i New York with schools based i Liverpool ad they start off by havig Skype coversatios ad debates based o various themes. We do a couple of these ad the set them a film challege, which starts by thikig of te questios to ask each other based aroud a chose theme. Each studet the makes a two-miute film i ay media, like a mobile phoe film or a camera. Sometimes it will be that they have to come back ad pitch to us ideas. EyeBeam i New York has bee workig o a platform for them to upload it to ad the youg group from the other side ca commet ad blog ad put thigs o, ad it is a safe eviromet for them to share what they are thikig. The last studets who did it got such a buzz ad were like Ahh! I have just see eight films, ad so we ca ow look ad critique or review them. We re ot too sure about the ext stage of that project. I thik that at the momet the idea is they will be set up with a pal who will be resposible for sedig over a brief ad takig you o usig the platforms to keep i touch, like virtual pe pals. As well as embracig ew techologies, cotemporary artists are reowed for usig old ad familiar materials or processes i ew ad surprisig ways, revealig a rage of uexpected possibilities. The Arts Immersio program, a joit iitiative betwee the Malthouse Theatre, the Australia Cetre for Cotemporary Art (ACCA) ad Chuky Move Dace Compay, exemplifies this idea. The oe-day rotatioal program for high school studets offers multiple ways of iterpretig a sigle theme or cocept usig geerative methods from visual art, dace ad theatre. The collaborative approach was coceived by Meg Upto, a Educatio Officer from the Malthouse Theatre, who saw the advatage of havig three complemetary orgaisatios operatig withi a small cultural precict. Meg s idea was to broade studets experieces, explais Shelley Hito, from ACCA, particularly for years 9 ad 10, from govermet, disadvataged ad regioal schools, to eable them to ejoy a cross-arts experiece withi this precict. Elaboratig o the program desig ad oe of its may iteratios at ACCA, she says: Studets udertake three workshops preseted by a professioal artist withi each orgaisatio, all o the oe day. We do that by way of likig the workshops to oe work i a curret exhibitio of ACCA to create a cetral theme. The educatio staff withi each orgaisatio work as facilitators but the workshops are primarily led by a professioal cotemporary visual artist, dacer or theatre practitioer. Oe of may workshops at ACCA was coducted durig the exhibitio, Ucay Nature, with the artist Alex Pittedrigh. Alex had previous experiece workig with studets, so I kew ad felt cofidet that he would work well i the workshops. He had created a rage of Baroque ispired 2D-3D friezes o board usig BlueTac, which completely fasciated the studets. They loved the idea of usig a office related product or material for art makig ad the fact that they were very beautiful, delicate ad fiely sculpted 2D, 3D images. It was decided that the cetral theme for the workshops would be relatioship ad coectivity ad the studets would make a idividual work o board, which would i the ed coect to make a large-scale piece with all the other studets works. Istead of just usig stadard BlueTac, we decided to use fluoro Tac, because we kew it would ispire the studets, which it did. So to begi, the studets heard Alex talk about his work i the Gallery, ad were the led through a discussio Growig future Iovators: a scopig study 47

50 Two Goaas - Bec Juiper take at Pumu. Photograph courtesy of AWESOME Arts 170 Awesome Arts (2010a) 171 Awesome Arts (2010b) o the Baroque ad Rococo periods ad the made amazig fluorescet coloured Baroque ad Rococo ispired imagery o board. To eable the work to coect, each studet s work had to coect to the work o either side i colour ad style at oe poit. At the ed of the workshop, after all the studets works were laid out o the floor, it created this giat Baroque/Rococo ispired fluorescet frieze. The studets loved it. I a similar vei are the loger process-drive workshops for youg people by AWESOME Arts ad the Creative Challege iitiative. Two-week residecies are staged throughout te regioal ad remote commuities of Wester Australia each year. Each egages a pair of complemetig artists, which allows participats to udertake research, coceptual developmet ad implemetatio of a artwork that will commuicate the uiqueess of their commuity. 170 I the 2008 iteratio of the project, FEAST, participats artfully extemporized o the theme of playig with your food : Each commuity was asked to create a gift box for aother. The gift boxes were made up of objects ad materials that had a special sigificace to that commuity. The gift boxes were the swapped ad each commuity was asked to give their ow explaatio o what they thought the gift box represeted. Each commuity the created a life size istallatio of a scee that represeted their commuity. I other words a 3D mural, to represet ad promote who they are. The youg people the brought their istallatios to life, usig food, materials from withi the commuity ad their gift boxes. The culiary creatios of each commuity were celebrated at the ed of each residecy. Selected artworks were brought to Perth to be showcased i the Creative Challege exhibitio at the 2008 AWESOME Festival. 171 As these various examples reveal, the workshop programs of cotemporary art istitutios ca itroduce school commuities to a rage of iovatio materials ad processes that utilize multiple artforms as well as cuttig edge or familiar techologies. 48 Growig future Iovators: a scopig study

51 172 Oakley (2007:5) #3 SKILLS & DISPOSITIONS Cotemporary arts istitutios ca help schools cultivate iovatio attitudes ad competecies such as creativity, self-efficacy, eergy, risk-propesity ad leadership by desigig immersive, experietial ad reflective learig opportuities that are artist-drive or youth led, ad where geuie experimetatio ad empowered questioig ca thrive. Itegrated ad sustaied modes of egagemet, such as log workshops ad artist residecies, are perhaps the more effective way of developig iovatio cultures ad skills with studets ad teachers. As Oakley reports, the extrisic beefits of the arts (icludig the developmet of o-cogitive skills) are brought about by a prologed or habitual iteractio with the arts. 192 This deeper form of egagemet is embedded i may of the examples that follow. The developmet of iovatio competecies requires a culture ad practice of ope-eded equiry that cotemporary arts learig programs ca create. Prescriptive approaches ad overly specific outcomes, o the other had, ted to shut dow iovatio. As Aa Cutler from the Tate Moder sees it, the poit where you say, We are goig to make this ad this is how we are goig to do it, you have stopped iovatig. Ad that, ufortuately, ofte describes the educatioal system. Avoidig this approach demads a level of trust i the creative process as well as a uderstadig ad tolerace of failure withi experimetatio. If we wat to iovate we are goig to have to throw out the practice ad see where it lads says Aa Cutler, ad some people will do it better tha others ad some people might get toes curled, ad you have to let that happe. This idea is reiterated by Baba Israel, from Cotact Theatre i Machester, who explais that without flexibility ad relaxig a certai amout of cotrol orgaizatios oly stifle iovatio: [Creative freedom] is what sparks iovatio, you eed some structure, but if you have structures that are too formal or too trapped i traditio, they kid of put a stragle hold o iovatio. I thik that there s always a little bit of risk with iovatio, ad there s always a little bit of ucertaity, ad a little chaos. There s a good amout of maaged chaos. I describig the lead up to the Creative Maifesto project cited earlier as part of the Tate Today project, Aa Cutler commets that it was crucial to prepare youg people by developig the art of questioig. With regard to the te schools they egaged across the coutry, she says: we worked with them for 18 moths to talk about creativity ad what they felt they eeded to be creative ad iovative... The questio was, What do you eed to be creative ad achieve? Ad what I always hate about these thigs is that horrible idea that you just put a child dow ad ask them there ad the. It s ot possible. So we worked with them for a year ad a half to talk to them about askig questios. Of course, we work i creative parterships to do that, ad the childre had defiitely bee discussig it. So, agai, it s about makig the task explicit. Oce you kow that s a possibility, as a child, you ca start to talk about it, istead of this thig that s there. Or is t. You do t see it, because you do t kow it s there. She says she was surprised to hear how much fear was associated with puttig up a had to ask a questio ad otes, that s whe you thik everythig s goe horribly wrog here. Because it is o loger about curiosity ad exploratio, it s about receivig iformatio. It is about passig a test. You come out of the test ad you realize it relates ot at all to the world you live i. Supportive eviromets where geuie experimetatio ad empowered questioig ca thrive allow the skills & dispositios of iovatio to flourish. As detailed i Sectio 2, there are various levels of iovatio skills that are sometimes referred to as basic (foudatioal), hard (discipliary), or soft (wider, life skills). Chell ad Athayde s research (2009) suggests that the skills commoly exercised by a rage of iovators across disciplies are creativity, self-efficacy, eergy, risk-propesity ad Growig future Iovators: a scopig study 49

52 Supertoys, by Kahve- Society. Photograph courtesy of Arolfii, Bristol, UK. leadership. The program exemplars that follow, whilst somewhat artificially separated ito these five areas, reveal how these iovatio competecies appear to be ecouraged withi the arts-led learig iitiatives for youg people ad schools. Creativity: Super Toys, a workshop ad exhibitio by Arolfii, suggests creativity at work whe childre were offered the opportuity to costruct iterestig ad fu ew toys from old oes. The multi-art cetre s Educatio Officer, Hele Davies, describes the cocept for this program ad its log icubatio: Super Toys bega as a school s project. Artists from The Kahve Society, worked with youg people to recostruct old toys ad costruct super toys. The iitial premise was recyclig. You brig i your old toys, you take them apart ad you make ew toys. There was always the itetio that this project should come back ito the gallery. So last year, Super Toys retured to Arolfii icorporatig a group exhibitio ad a toy factory. Elemets were participatory; visitors could make super toys for themselves. Alogside that there was a group exhibitio that explored themes of play, robotics ad iteractio desig. It s iterestig that a exhibitio ca be iitiated through a learig ad iteractio project. Altogether Super Toys probably ra with the work that we did i schools for five years prior to the exhibitio. A log time i the makig. The Kahve Society ra a pilot i Lodo ad from there we worked extesively i Bristol. It was a loger-term commitmet with Bristol schools that started off with oe school, Headley Park. For the actual exhibitio, we brought i other schools. We recruited youg people to work i the galleries as stewards. They were traied ad located i the toy factory as facilitators. They rose to the challege. Durig their time at Arolfii, their icreased cofidece i workig with the geeral public led to a expasio of their role ito public gallery tours for visitors. Self-efficacy: The artist i residece project Trasitios, curated by the Camde Arts Cetre i Lodo is perhaps exemplary of how creative edeavour ca build self-efficacy i youg people. Each year, the project works with three local primary schools ad the secodary school they feed ito, egagig studets who are graduatig from oe to the other. Research has show this trasitio period to be oe of the most sigificat times i the lives of youg people for developig qualities such as self-esteem ad social cofidece, impactig strogly o levels of achievemet ad wellbeig i school as well as throughout life. Aa Vass, Camde s Educatio Program Programmer, otes, Trasitios is a icredibly reflective project ad ivolves trackig the feeligs ad experieces of youg people as they go through that chage, because it s such a icredibly powerful momet where there s a lot of ucertaity ad icitig of questios. 50 Growig future Iovators: a scopig study

53 173 Equire (2009:48) 174 Equire (2008:68) The 2008 iteratio of Trasitios commissioed the cotemporary artist Emma Hart, who worked with live art ad video. She facilitated a exploratio of the trasitio theme while also reflectig o performaces iheret withi educatio ad how artists might operate withi a school eviromet. Usig low-tech audio-visual equipmet commo to schools, she created a series of live performaces ad projectios for the classroom. Aa Vass says Hart s residecy ad her egagemet with youg people ad teachers evolved i a highly orgaic ad cosultative way: Emma Hart was based i a studio o site for two moths She had specific kid of questios ad specific ways of egagig with those pupils i order to gai reflectios o what questios they had about primary school. Whe she wet ito the secodary school, she worked durig luch times ad after school i a classroom that was desigated specifically for her projects. Ad that became kow as The Questios Departmet. So it was maitaiig itself as a luch club ad a after school club where pupils could drop i ad sped time ad was a place where, through coversatios with Emma ad her presece o a weekly basis, every Tuesday, some ideas evolved ad the project took shape. So it was developed i cosultatio with those youg people i terms of how it materialized. What Emma foud was that there came a poit withi the course of that first year, where [she ad the teachers] felt that the ature of her time spet at the school would start to the shift ito the classroom. The project the beefited from havig a greater umber of youg people ad itegratig some of the studets who had bee spedig a lot of time with her durig their luch periods after school She was ecouragig the pupils to actually cosider their relatioship to school ad their relatioship to each other, ad to their teachers also, as coscious performace acts. Ad I thik i that respect, from the outside you might see that the project has met certai objectives, but it did t ecessarily stake those as part of its ageda i the outset. Risk-propesity: Through oe of the UK Creative Parterships iitiatives, Whitechapel Gallery i Lodo was the lead istitutio for a collaborative research project askig I what ways does gallery educatio cotribute to youg people s learig? 173 Oe of the fidigs was that high school studets were learig how to experimet, collaborate, aalyse ad egage. Aother observatio was that their schoolig cotexts appeared to ihibit risk takig: All the youg people iterviewed talked about experimetig with differet materials ad developig ew ideas. However withi the curret educatio climate the emphasis o stadards ad assessmet is foremost, ad so doig thigs i ew ways ad takig risks is ot always ecouraged. Risk was a alie cocept to early half of the youg people iterviewed, may of whom asked: What do you mea by takig risks? 174 Tacklig the theme of risk-takig i a direct ad ispirig way was the residecy project Elastic Frotiers, produced by Arolfii, which explored otios of frotiers, risk, failure ad success through art makig itegrated with abseilig. Over a twelve-moth period ( ), artist ad moutai climber Da Shipsides worked with a group of six childre at Oldbury Court Primary School, a school whose motto is achievig together through challege, curiosity ad creativity. The project bega with climbig exercises ad writig poems about frotiers, which graduated ito vetures like scalig local churches ad cliff faces. The artist himself describes the residecy ad some of its artistic outcomes as they discovered about the worlds of climbig ad art: They tried ad explored ways of climbig ad makig art usig the school buildigs, surroudigs areas, local climbig cetre ad places out i the ladscape as their learig eviromets. The equipmet they used raged from traditioal art materials to tables ad chairs to specialised climbig equipmet. These processes of learig, problem solvig, takig risks ad discussio were recorded i video, photography, drawig ad writig. A exhibitio of this work was held at the school ad at Arolfii. This icluded my ew climbable sculpture, The Big Cheese, Growig future Iovators: a scopig study 51

54 The Elastic Frotiers project, Arolfii, Bristol, UK. Images by artist Da Shipsides. 52 Growig future Iovators: a scopig study