LaFolia:TheMagnaSongsProject
2
LaFolia:TheMagnaSongsProject
Aresearch-basedevaluationoftheeffectivenessofanartsprojectonthe
pupils,anditsimpactontheprofessionalartistsandaudience.
Authors:Boyce-Tillman,J.,Scott-Hall,E.,Taylor,S.&Walters,D.
Published:Salisbury,England.2015
Publisher:LaFolia
Edition:V1.4315thDec201509:03
Alltext©TheCentrefortheArtsasWellbeing,TheUniversityofWinchester
andLaFolia
Allimages©LaFolia
Allrightsreserved.Pleaseseekpermissionbeforeusinganyofthecontents
inanyformat.
FurtherinformationaboutLaFoliacanbefoundat:
http://www.lafoliamusic.org
3
Acknowledgments
ThisresearchwascommissionedbyLaFoliaandfundedby:
ArtsCouncilEngland;WiltshireMusicConnect;WiltshireCouncil;
WiltshireandSwindonCommunityFoundation;NADFAS;Salisbury
Cathedral;SalisburyCathedralSchool;SalisburyIndependent
HospitalTrust;CharitableTrustsandFoundations;Frankand
ElizabethBrenan;FriendsofLaFolia;Anonymousdonors.
Thankstothefollowingpeoplethathavecontributedtothe
evaluationandhavefacilitatedtheresearchprocess
SueKent,Rev.ProfessorJuneBoyce-Tillman,DavidWalters,Dr.
CostanzaPreti,ShirleyTaylor,Dr.ElizabethScott-Hall,Howard
Moody,AnushaSubramanyamandalltheirartisticteam,allthe
staff,pupilsandcarersatWoodfordValleyPrimaryAcademy,
ExeterHouseSchool,TheGrovePrimarySchoolandLarkrise
School,andfinally,allthestaffandhelpersattheSalisbury
Cathedral.
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Contents
Acknowledgments ..................................................................................... 3
ExecutiveReport ....................................................................................... 6
Backgroundandscopeoftheevaluation ................................................................................... 6
Method ..................................................................................................................................... 6
EvaluationDemographics .......................................................................................................... 7
Findings..................................................................................................................................... 7
SummaryConclusions................................................................................................................ 8
1Background .......................................................................................... 10
1.1 AimsoftheMagnaSongsProject.................................................................................... 10
1.2 Theparticipatingschools ................................................................................................ 11
1.2 LaFolia ........................................................................................................................... 12
1.3 TheProcess .................................................................................................................... 13
1.4 TheimpactoftheartsonpeoplewithSpecialEducationalNeeds................................... 14
1.5 Theroleofartisticinterventionsforpupilswithdifferentandcomplexneeds ............... 15
2Method ............................................................................................... 17
2.1 Researchaim ................................................................................................................. 17
2.2 Ethicalconsiderations .................................................................................................... 18
2.3 Researchdesign............................................................................................................. 18
2.4 Datacollection ............................................................................................................... 18
2.4.1Observations .................................................................................................................. 18
2.4.2Unstructuredinterviews ................................................................................................. 19
2.4.3Notesoftheprofessionalartists ..................................................................................... 19
2.4.4Shortquestionnaire ........................................................................................................ 20
2.5Limitationsoftheevaluation ............................................................................................. 21
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3 Findings ............................................................................................. 21
3.1Theme1Communication................................................................... 21
3.1.1Communicationthroughdrama ...................................................................................... 22
3.1.2Musicalcommunication .................................................................................................. 23
3.1.3Communicationthroughmovementanddance .............................................................. 27
3.2Theme2 Engagement ..................................................................... 29
3.2.1Pupilengagement ........................................................................................................... 29
3.2.2Feelingsandmood .......................................................................................................... 33
3.2.3Audienceengagement .................................................................................................... 39
3.3Theme3 Leadership ....................................................................... 42
3.3.1Leadershipandcommunication ...................................................................................... 42
3.3.2Skillsandexpertise ......................................................................................................... 46
3.3.3Professionaldevelopment .............................................................................................. 48
4Conclusionsandrecommendations ...................................................... 51
4.1Thepupilworkshops.......................................................................................................... 51
4.2Performances .................................................................................................................... 52
4.3TheSchools........................................................................................................................ 53
4.4LaFolia .............................................................................................................................. 53
4.5Recommendations............................................................................................................. 54
5Appendices........................................................................................... 56
AppendixA–EthicsApplication .............................................................................................. 56
AppendixB-Questionnaire..................................................................................................... 59
AppendixC-ConcertPerformancenotes................................................................................. 60
6References ........................................................................................... 62
7Bibliography ......................................................................................... 63
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ExecutiveReport
Backgroundandscopeoftheevaluation
LaFoliaisa“musicproductioncompanythatbringstogether
instrumentalists,singers,actors,dancers,visualprofessionalartistsand
writerstocreatenewmusic,originalprojectsandground-breaking
performances.”InJuly2014,theLaFoliaGeneralManagerapproachedthe
UniversityofWinchestertocommissionafullobservationalevaluationof
theMagnaSongsprojectin4schools.Theinitialevaluationproposalwas
redevelopedandredesignedtomatchtheavailableresourceswithinthe
limitationsofbudgetandtheworkwasundertakenbetweenMayand
October2015.Theaimwastoobserveandassesstheimpactofthemusic
andmovementproject(basedonthesigningoftheMagnaCarta)onpupils,
staffandprofessionalartists,toobserveandreviewaninitialworkshopand
afinalperformance.TheevaluationwassupportedbytheUniversityof
Winchester-CentreforArtsasWellbeingandtheArtsCouncilGrantsfor
theArtsprogramme.
Method
Theevaluationwasbasedonamixedmethodsqualitativeprocess.This
evaluationisessentiallyamid-pointsnapshotwithanobservationalreview
ofthefinalconcert.Thedatacollectionincluded:observationsofcreative
sessionsinfourschools;individualinterviewswiththeArtisticDirectorand
dancer,aContinuingProfessionalDevelopmentsessionforstafffromtwo
schools;ashortquestionnaireandtwoobservationalreviewsofaninitial
rehearsalandafinalperformance.
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EvaluationDemographics
Overall,approx.115pupilswereobservedinthe4daysofobservations.Of
theseapprox.74werepupils(64%)(pupilswereallowedtocomeandgo
duringworkshopsandquitealotofpupilswhocametoworkshopsdidnot
takepartintheperformance),33schoolstaffandcarers(29%)and8
professionalmusiciansandprofessionalartists(7%).
Semi-structuredinterviewswereconductedwith5staff,theartisticdirector
andthedancer.Thetotalnumberofrespondentstotheshortquestionnaire
aftertheconcertwas24.Ofthese,5werewithinthecathedral(21%),14
wereconnectedtoLaFolia(58%)and5werevisitors(21%).
Observationaldataandreviewsofarehearsalandthefinalperformance
weretranscribedandanalysed.
Findings
• Theuseofdramafacilitatedandencouragedcommunication,leading
tothedevelopmentofnewideasandnewconceptual,emotionaland
socialunderstanding;
• Theuseofmusictoreinterpretthepupils’inputfacilitatedanewand
differentlevelofmusicalparticipationandcommunication,whenthe
motifsgeneratedbythepupilsweretakenandwovenintosong.The
mirroringofpupils’movementsorsoundsprovestohavebeena
gentleandeffectivemethodoffosteringparticipatoryactivity;
• Thedevelopmentofpupils’ideasservedtovalidatethepupils’
contributionsandenabledasenseofsharedownershipofthework;
• Physicalresponsetomusicwasseentoplayanintegralrolein
communicationdevelopmentintheworkshops;
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• Theworkshopshadbeenthoroughlyplannedandstructuredandthe
moodsandatmospherecreatedbythedifferentmusicalsections
servedtomaintainengagement;
• Themusicalperformance,interwovenwithdramaanddance,
presentedavehiclefortheportrayalofemotionsandmoodina
memorableway,fortheobserver,pupilsandaudience;
• Alltheprofessionalartistsinvolvedintheprojectworked
collaboratively,supportingandextendingoneanother’sideasto
developthepupils’engagementandinvolvement;
• Theprofessionalartistsdemonstratedahighlevelofrespectforone
another’sskills,knowledgeandexpertiseandthecollaborativenature
oftheirworkcreatedanenablingatmosphere;
• Anaspectthatemergesascommontoalltheleadersisthenotionof
equalityandrespect,acceptingallideasandvaluingthemas
worthwhile;
• Throughexample,stafflearningwassupportedanddevelopedand
newstrategieslearned;
• TheartisticprogrammecoordinatorandtheLaFoliageneralmanager
werekeyfiguresinboththeconceptualisationandgeneral
managementandsuccess,oftheprogramme.
SummaryConclusions
Theprojecthelpedfurtherfosterpupils’conceptuallearningandemotional
development,aswellasbroadeningtheirknowledgeandunderstandingof
theworld.Furtheraimsoftheprojectweretoexploremusicinitsmany
forms,explorevisualartsanddevelopsongwriting.Alltheseaimsweremet.
Forthepupils,thisinvolvedexposuretoawiderangeofmusicalgenres,
Indiandancingandvocalwork,allofwhichresultedinincreasedselfconfidenceformanyofthepupilsandofferednewphysicalandemotional
experiencesthatwerefreeingandenabling.Theaimsofshowingtothe
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generalpublicthecreativequalityofthepupils,andshowcasingtheworkof
pupilstoawiderpublicinavarietyofsettingswasinitiallymetinthepupils’
performanceinSalisburyCathedral.Althoughthisaudiencewaslimitedto
thosewithsomeinvolvementintheprojectorwithLaFolia,andthewider
audienceconsistedpredominantlyofcasualvisitors,thisworkedwell.
Thewayinwhichtheperformancemovedaroundthespace,withthelarge
numberofcarers,pupilsandmusiciansinvolved,alargeraudiencethat
wouldbeabletoseeandhearallthatwashappeningcouldnothavebeen
accommodated.Theprofessionalartistsdemonstratedtheabilitytocreate
goodrelationshipswiththepupilsandtheirinterpersonalskillsandcaring
attitude,alongwiththeircreativity,enabledandempoweredthepupilsand
challengedthemcognitively,emotionally,creativelyandphysically.They
demonstratedahighlevelofrespectforoneanother’sskills,knowledgeand
expertiseandthecollaborativenatureoftheirworkcreatedanenablingan
atmospherethatfosteredcreativityinallthepupils.
Theprofessionalartistswereclearlycommittedto,andpassionateabout
theirwork.Theyreflectedindividuallyandtogether,todetermine
appropriatewaysforward.Workinginnewsettings,particularlywiththe
pupilsintheHearingImpairmentUnit,wenttowardsmeetingtheaimof
providingprofessionaldevelopmentforthosewhohadnotpreviously
workedinsuchacontext.Theartisticdirectorprovidedthemusical
foundationsfortheproject,usinghisskillandcreativityincompositionto
bringtogetherthemusicalfragmentsintolongerartisticstructures.
DavidWaltersDecember2015
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1Background
1.1
AimsoftheMagnaSongsProject
TheinitialaimoftheMagnaSongsprojectwastocreateanew‘great
charter’ofrightsandfreedomsforthepupils.Itwasenvisagedthatthis
wouldbeattainedthroughthepupils’explorationofmusic,danceand
dramatocreateverbalphrases,musicalfragmentsandaccompanying
movements.Thesewouldbearrangedintoawholeworkbytheartistic
teamfromtheSalisbury-basedcreativeartscompanyLaFolia.
Thespecificaimsoftheprojectwereinitiallyto:
• Give a voice to pupils who have limited means of expression, by using a
varietyofartisticgenres
• Give a voice to families who have limited means of expression by using a
varietyofartisticgenres
• Showtothegeneralpublicthecreativequalityofthepupils
• Exploremusicinitsmanyforms
• Developsongwriting
• Explorevisualarts
• Showcasetheworkofpupilstoawiderpublicinavarietyofsettings,
demonstratingandexploringcreativityandquality
• Createworldwideimpactwithonlinesongbook
• Providedevelopmentforprofessionalartists
• IncreasethereachofLaFolia’swork
Theworkshopsincorporatedmusic,danceanddrama,involvingthedevising
ofwordsandmusic,forthecompositionofsongs.Indianmusicwas
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introducedforexpressionthroughIndiandance,whichwiththeuseofhand
andupperbodymovement,wasofparticularrelevancetowheelchairusers.
TheIndianmusicandsolkattu–stylemnemonicrhythmswereintroducedas
apotentiallysignificantmusicalvehicleforthosepupilswhocouldvocalise
butwereunabletospeak.
1.2
Theparticipatingschools
ExeterHouseSchoolcatersforpupilswithsevereandprofoundmultiple
learningdifficulties.ThesedifficultiesmaybecausedbyAutisticSpectrum
Disorders(ASDs)andothercommunicationandlanguageproblems:some
mayhavesensoryandphysicaldisabilitiesalongwiththeirmorecomplex
learningneeds.ExeterHouseSchoolhasbeeninvolvedannuallyinLaFolia
projectsforovereightyearsand,priortothestartoftheMagnaSongs
project,sixsongshadbeenalreadybeendevelopedwiththreegroups
throughthreeprivatelyfundedpilotworkshops.
WoodfordValleyPrimaryAcademyResourceBaseforAutismcatersfor
pupilswithASDsand,asatExeterHouse,LaFoliahasworkedonprojects
withpupilsannuallyforovereightyears.AlongwithExeterHouse,the
projectshaveledtoaperformance,andthisworkhasbecomeintegralto
educationalprogrammesinbothschools.
LarkriseSpecialSchoolisforpupilswithSevereLearningDifficulties
includingthosewithProfoundandMultipleLearningDisabilitiesandASDs,
someofwhomhavenoverbalcommunication.TheMagnaSongsProjectis
theirfirstexperienceofworkingwithLaFolia.
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GrovePrimarySchoolHearingImpairmentUnit(HIU)pupilsattendthe
mainstreamschoolandreceiveadditionalsupportwithintheHIU.Listening,
lipreadingandspeakingskillsareencouragedandnurturedand,where
appropriate,arecombinedwithSignSupportedEnglish(SSE)andBritishSign
Language(BSL).ThiswasthefirsttimethatLaFoliahasworkedwithpupils
here.
Itwasproposedthatdifferentiatedwaysofworkingwouldbeestablished
withregardtothedifferentagesandabilitiesofthepupilsinvolved.Itwas
anticipatedthatoverallwaysofworkingwithpupilsofExeterHouseand
LarkriseSpecialSchoolswouldbesimilar.BasedonLaFolia’spastprojects
andknowledgeofworkingwithpupilswithautism,waysofworkingwith
boththeWoodfordValleyandGroveResourceCentreswouldbedifferent
fromthespecialschools,andfromeachother,duetothedifferingnatureof
challengesfacedbythosepupils.
AsLaFolia’sworkisledanddevelopedthroughparticipantresponse,
differenceswouldberevealedthroughtheworkitself.Thecommonthread
runningthroughalloftheinterventionsisthatmusicandmovement,rather
thanspeechisthemediumforcommunication.
1.2
LaFolia
LaFolia,formerlytheSarumChamberOrchestra,isanestablished
organisation,whichhasbeenperformingclassicalconcertsformorethan25
years.LaFoliahasbeenworkingtocreatelarge-scale,innovativeprojects,
withtheaimofconstantlydevelopingbestpracticebothinmainstreamand
specialeducation.LaFoliahasworkedonprojectsannuallyforalmosta
decadewithExeterHouseandWoodfordValleyschools.TheMagnaSongs
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projectrepresentsafurtherdevelopmentforLaFolia,whoaimtobring
creativemusicalexperiencestoawiderrangeofpupils,notablythosewho
arelessabletoparticipateinmainstreammusic-makingandmusical
experience.
1.3
TheProcess
Themusicalscoresdevelopedduringthecourseoftheprojectarebasedon
musicalfragmentsarisingfromthepupilworkshops.Thesefragmentscan
bebestdescribedasPaulHindemith’s(1952)notionof“Einfälle”.
When we talk about Einfälle we usually mean little motifs,
consistingofafewtones—tonesoftennotevenfeltastones
butfeltmerelyasavaguecurveofsound.Theyarecommon
toallpeople,professionalsandlaymenalike;butwhileinthe
layman’smindtheydieawayunusedintheirearliestinfancy…
…thecreativemusicianknowshowtocatchthemandsubject
themtofurthertreatment.
(PaulHindemith,1952pp48-49)
Workingcollaborativelywiththeartisticdirector,HowardMoody,
conductor,composer,arrangerandinstrumentalist(principallykeyboard),
wereRSCactor,ColinBrown;singerandanimateur,EmilyBlows;Indian
dancemovementtherapist,AnushaSubramanyamandvisualartist,Susan
Francis.Eachoftheworkshopleadersbroughtavarietyofskillsand
professionalqualitiestofacilitatethecombiningofdifferentartformsintoa
cohesivewhole.
1.4
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TheimpactoftheartsonpeoplewithSpecialEducationalNeeds
IthaslongbeenrecognisedthatparticipationintheArts,(MusicDrama,
DanceandVisualArts),hasmanifoldbenefitsparticularlyintermsof
wellbeing.Hillier,Greher,PotoandDougherty(2012)suggestthatskillsand
knowledgegainedthroughartsactivitiescanplayavitalroleinspecial
education.Artsprojectscanofferagreatpotentialforpositiveimpacton
pupilswithawiderangeofparticularandvaryingneeds.
Participationintheartshasbeenshowntoimproveandbuildessentialskills
inmanyareasofautism’scoredeficitsofspeechandlanguage,socialskills
andbehaviouraldifficulties,andoffersnewopportunitiesforexpressionfor
thosewithphysicalandverbalchallenges.Engagementwiththeartsisseen
ascontributingtoanindividual’swell-beingbyinfluencingpositive
emotions,engagementwithothers,achievement,andself-awareness
(Croom,2012).
Participationinmusicalactivityhasthecapacitytobenefitpupilsinseveral
ways.CliftandHancox(2001)proposesixdimensionsofbenefitassociated
withsinging,whichare:
• benefitsforwell-beingandrelaxation,
• benefitsforbreathingandposture,
• socialbenefits,
• spiritualbenefits,
• emotionalbenefits,
• benefitsforheartandimmunesystem.
Socialisationandempowermentthroughexchangeofideas,andworking
togetherasacommunity,arepotentialoutcomesofprogrammesthatbring
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professionalartistsintospecialeducationalsettings,andwhereartistic
interactionstakeplace.Thesesettingsbecome“communitiesofpractice”
where“peoplebuildtogethernessandbelongingthroughsharedactivities
andprojects”andinvolve“mutuallearning,collaboration,andsometimes
performance”(Ansdell,2014p220).Theresulting“MusicalCommunitas”
(Victor,1974)thatemergeswhenpeoplecometogetherinoneplacein
whichsuchinteractionscanhappen,“transformsthepupils’habitualroles,
identityandstatus,helpingthemtobeseenbyothers,andconsequentlyby
themselves,assomethingotherthantheyusuallyare”(Ansdell,2014,
p239).
1.5 Theroleofartisticinterventionsforpupilswithdifferentandcomplex
needs
TheTrainingandDevelopmentAgencyforSchoolsrecognisestheroleof
musicinspecialeducationinthestatement:“Musicisauniqueformof
communicationthatcanchangethewaypupilsfeel,thinkandact.Music
formspartofanindividual’sidentityandpositiveinteractionwithmusiccan
developpupils’competenceaslearnersandincreasetheirself-esteem”
(TDA,2009p4)
Thispowerofmusicisfurthersupportedinthe2011NationalPlanforMusic
“Anumberofstudieshavedemonstratedthepositiveimpactmusiccan
haveonpersonalandsocialdevelopment,includingincreasedself-reliance,
confidence,self-esteem,senseofachievementandabilitytorelateto
others”(NationalPlanforMusic,2011p42).
DramawasremovedfromtheNationalCurriculumasadiscretesubject,and
subsumedintothecurriculumforEnglishin2013.However,itisnolesstrue
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today,asin2003,that“fromaneducationalperspective,thesenseof
enthusiasmandcommunitythatisdevelopedthroughtheproduction
processandpublicperformancesreflectssomeofthecentralprinciplesof
socialinclusion”(ArtsCouncilEngland,2003p27).
Dramathatbeginsinastoryprovidesapositivestrategytoenablethepupils
to“experienceachangeinperceptionaboutthemselvesandtheirsituation”
(Dowling2013,ip11).Thecloserelationshipbetweenstorytellinganddrama
facilitatesthemovingfromonetotheotherwithease.
SherratandPeter(2002pviii)suggestthat“theveryactofengaginginplay
anddramaexperienceswillstrengthenthosepartsofthebrainthatare
under-functioninginpupilswithautism”,andfurther,Peter(1995p145)
suggeststhat“puttingpupilswithautismdirectlyintouchwiththeirfeeling
responseswillenablethemtoseehoweventsandexperiencescome
togethertohaveameaningratherthansimplybeing‘chronologically
related’”(Author’sitalics).
Dramacansituatethepupilsinthe‘hereandnow’,andfurnishthemwith
strategiesfortheirownlearning,encouragingthinkingthroughasituation
imaginativelyandcreatively.
Kayshap(2005)identifiesdanceforitscapacitytobringtogethercreativity
andbothemotionalandpsychologicalenergy,andrecognisesthe
concommitantincreaseinwellbeing,self-awarenessandmentalhealth.For
wheelchairusers,itcanfacilitateanewtypeofinclusion:upperarmhand
andbodymovementsprovideanewexpressivevocabulary,andthe
wheelchairitselfmaybe“consideredanartisticextensionofthebody”
(MillerandKaitz,2015p88)TheuseofIndiandancemovementsinvolving
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handandupperbodymovementsprovidesameansofparticipationwellsuitedtowheelchairusers.
Touchisacommonfeatureingroupdancing,and,as(Cullenetal.2004,
p84)suggest,“Somechildrenwithautismoftendislikeorareuncomfortable
withtouch”.Dancehasthepotentialtoprovidedifferentconditionsfor
physicalcontactandthefacilitationofdifferentandwaysoftouching.
Visualart,too,haslongbeenrecognizedforpromotingpositiveaffect,and
providesacreativeoutletandopportunitytoexperiencedifferenttextures
andusefinemotorskills.Moor(2008pp203–206)describesartwithpupils
ontheautisticspectrumasbeing“notjustaboutnicepictures,it’sabout
processesthathaveapositiveeffectonwell-being”andsuggeststhat“To
havecontroloveratoolandleaveanimageforotherstoseeisaprimitive
andfulfillingaction”.Flowers(1992,p1)supportsthenotionthatpupilswith
autism,inparticular,“canbenefitfromthecreativityandgoodfeelingsart
produces”Flowers(1992,p1).
2Method
2.1
Researchaim
TheoriginalaimsofthisevaluationweretoassesstheimpactoftheMagna
Cartaproject,deliveredbyLaFolia,onpupilsandteachersinvolvedinthe
project.Evaluationcanservetoshowtofunders,pupilsandpublicwhathas
happenedasaresultofaproject,showhowtheworkofbothpupilsand
artsleadersisvalued,andfacilitateandinformthefurtherdevelopmentof
artspracticesforfutureprojects.
2.2
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Ethicalconsiderations
TheevaluationfollowedtheBritishEducationResearchAssociation(BERA)
EthicalGuidelines,withparticularregardtothesection:Children,
VulnerableYoungpeopleandVulnerableAdults,andensuring
confidentiality,anonymityandtherighttowithdrawfromtheevaluationat
anystage,toallpupilsinvolvedinthestudy.Aconsentformfortheparents
andaletterfortheheadteacherofeachschooltakingpartintheproject
wereattachedtotheapplicationassoonasdetailsoftheschoolstakingpart
intheprojectwereconfirmed.Allphotographicmaterialshavebeen
authorisedforuseinpublicoutputs.
2.3
Researchdesign
Thetheoreticalframeworkforthisstudyissituatedwithinanemancipatory
frameworkofinclusion,voiceandempowerment.Theevaluationwasbased
onaqualitativedesign,utilisingaGroundedTheoryapproach(Charmaz,
1996and2006).Datawasinitiallycodedtoidentifyoverarchingthemesand
furthercodingthenidentifiedsub-themes.“Throughcoding,youdefine
whatishappeninginthedataandbegintograpplewithwhatitmeans”
(Charmaz,2006p46).
2.4
Datacollection
2.4.1Observations
Theobservationsnotedinthisreporthavebeenmadebymembersofthe
researchteamfromtheUniversityofWinchesterCentrefortheArtsas
Well-being.Thesetookplaceat:
• aworkshopinSalisburyCathedralwithExeterHouseand
WoodfordValleypupilsatthestartoftheproject;
19
• alaterworkshopatExeterHouseSchool
• amid-projectworkshopattheGroveHearingImpairmentUnit
• amid-projectworkshopforpupilsatLarkriseSchool.
• aContinuingProfessionalDevelopment(CPD)workshopfor
stafffromLarkriseandGroveschools,newtoworkingwithLa
Folia
• theperformanceinSalisburyCathedralinvolvingallfour
schoolsonJuly14th2015.
Thereweretwofurtherperformanceswhichwerebeyondthescopeofthis
report.ThefirstwasafurtherpupilperformanceatSalisburyhospital,which
wasnotobservedbytheresearchteam.Achamberconcertwasthengiven
bytheorchestrainSalisbury’sMedievalHall,andfeaturedseveral
professionalperformers.Althoughnotwithintheevaluationbrief,thiswas
observed,andareportofthisperformanceistobefoundinAppendixC.
2.4.2Unstructuredinterviews
Theinterviewswereundertakenwith:
• Theartisticdirector,HowardMoody,(HM)
• TheIndianDanceleader,AnushaSubramanyam(AS)whowaspresent
forthefirstpartoftheinterview;
• TheheadteacherofGrovePrimarySchoolHearingImpairmentUnit;
• AmemberoftheUniversityofWinchesterresearchteam,basedon
theirobservationoftheperformanceinSalisburyCathedral.
2.4.3Notesoftheprofessionalartists
AbriefwrittenaccountofanearlyworkshopwascontributedbyDrama
workshopleaderandactor,ColinBrown(CB).Noteswerecontributedby
theartisticdirectorreflectingontheproject’sprocessandhispreparationof
20
theprogrammeforthepupils’performance.Theseweremadeavailableon
23rdJune2105.
2.4.4Shortquestionnaire
Shortaudiencequestionnaireswereadministeredaftertheschools’
performanceinthecathedral(SeeAppendixA).Thetotalnumberof
respondentswas24,andthesewereallocatednumbersR1toR24.Some
connectionswereshared:ofthe14connectedtoLaFolia,3wereconnected
totheCathedral,1toaperformerand1totheschool.Ofthe5respondents
connectedwiththeschool,2wereconnectedtoaperformer.Threehadno
connectionwithLaFolia,theschooloraperformer,asshowninFig1.Not
allrespondentsansweredeveryquestion.
Performer5
(2)
(1)
Cathedral5
(3)
LaFolia14
(1)
School5
None3
Fig1:Thesharedrelationshipsbetweenrespondentgroups.
21
2.5Limitationsoftheevaluation
Thedataconsistsofalimitednumberofobservations,theprofessional
artists’ownpersonalaccountsandshortaudiencequestionnaires.Itwasnot
possible,withintheconstraintsofthissmall-scaleevaluation,togather
feedbackfromthepupils,teachersorcarersasshownintheoriginal
researchintentions(AppendixB),duetotherestrictionsoffundingallotted
totheevaluationandconsequenttimeallocation.Commentsmadetothe
observerintheschoolsandanecdotalevidencewasrecordedinthe
observationnotes.Therewerenoobservationsundertakeninthevisualarts
workshops.
3
Findings
Threemainintertwiningthemesemergedinthefirststageofanalysis.These
are:
1) Communication
2) Engagement
3) Leadership
3.1Theme1Communication
Thedatarelatedtothisthemeweregroupedintosub-themes.Theseare:
• Communicationthroughdrama
• Musicalcommunication
• Communicationthroughmovementanddance
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3.1.1Communicationthroughdrama
Studentswithautismandthosewithlearningorhearingdifficultiespresent
differentchallengesintheareasofbothexpressiveandreceptive
communication.
Althoughthiswasnotthepupils’firstexplorationoftheMagnaCarta,the
reportbytheactor,writtenpriortothefirstobservation,servesto
demonstrate:
• Waysofcommunicationinfacilitatingunderstandingofthemeaning
ofMagnaCarta;
• Howitrelatedtothedailylifeofpupilsinpresentdaycontexts.
Theactorgivesanaccountofaworkshopinvolvingrole-playandhowthis
stimulatedpupilunderstanding.Here,storytellingservedtoprovideabasis
forrole-play(‘Thekingsays’asinthegame‘Simonsays’),inwhichallhadan
opportunitytoplaytheking.Thisexperientiallearningprovidedabasisfor
furtherquestioning,whichledtofurtherrole-playactivities.Whenthe
pupilswerecastintheroleofbaronsandaskediftheywantedtokeep
titles,land,andvariousrightandfreedoms,theirunderstandingofthe
relevanceandmeaningofMagnaCartabecamecleartotheworkshop
leader,asdescribedinhisaccount,below.
Isaid,‘it’sgonnacostye’.‘Lifeissoexpensive’,oneofthepupilscried
out.Awaveofindignationrippledout.Ifsomeoneaskedaquestion,I
reflecteditback,saying‘it’sgonnacostye!’Ifsomeonelaughed,I
said,‘youwannalaugh?It’sgonnacostye’.Wegleefullyriffedonthis
chorusforawhile,thenIturnedupthestakes,madeitpresentand
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personal:supposesomeonewantedyourbooks,magazines,orplay
station,supposeyouhadtopaytokeepholdofwhatwasalready
yours?‘No!Nomore,’theyshouted.
(CBnotes:15.4.2015)
Apreviousworkshophadintroducedtheideaofahomelessmanina
scenariobasedontheideathatthepupilsmight,oneday,beinpositionsof
power,representingthoseneedinghelp.Thewords,originatingfromT.,one
ofthepupilsinthedramaworkshop,andlaterdevelopedinasong,
resonatedwiththeartisticdirectorasconveyingastrongmessage.
‘Coldandmiserable,Idon’tknowhowtoaskforhelp…Iwantmyfamily,I
wantmyfriends’encapsulatetheworldofhomelessnessanddespair.
(HMnotes:23.6.2015)
Thewordsreflectedthewayinwhichrole-playindramahadencourageda
senseofempathy.
Theuseofdramahadfacilitatedandencouragedcommunication,leadingto
thedevelopmentofnewideasandnewconceptual,emotionalandsocial
understanding.Thesepowerfulthemesconcerningnotionsofpower,safety,
askingforhelpandprotectionthatemergedfromcommunicative
interactionsinrole-playandnarrativearerelevantandmeaningfulinthe
pupils’currentcontextsofmarginalisationinsociety.
3.1.2Musicalcommunication
ThefirstobservationwithExeterHouseandWoodfordValleypupilstook
placeintheCathedral,twodaysafterthedramaworkshop.Theprofessional
artists,whowerealreadyinplace,wereabletosetthescenewithoutthe
24
needforspeaking,byperforminginformallyinwhatwas,tothepupils,a
familiarwaythatinvitedparticipation.
Alongwiththethemesofpower,protectionandfreedom,severalmusical
fragmentshademergedinthedramaworkshop,whichHowardMoodyhad
notatedas,‘anembryonicmusicalscore’(Observationnotes,17.04.2015).
Thesewereintroducedin‘callandresponse’form,thepupilsrespondingto
theprofessionalartists,andthentheprofessionalartiststakingthelead
frompupils’developingideas.Theuseofthedifferentspacesfacilitateda
rangeofvocalandphysicalresponses.Theechoingacousticachievedinthe
highpositionofthetriforiumappearstohaveencouragedandfacilitated
theexperimentaluseofvoices,andenabledthosewithquietervoicestobe
heardinanewway.Forsomeoftheprimary-agepupils,thepulpitinvited
opportunityforprojectionofsingingvoices,whichweremademoreclearly
audiblebyitsheightandposition.
Insomeoftheworkshopsobserved,itwasnotedthatamusicalbackground
oftentooktheplaceofverbalinstructionsbythegivingofaudiocluesto
musicalmaterial,styleandmood.Here,theartisticdirectorusedhisvoice,
bothsingingandspeakingwhileplayingthepianomuchofthetime,so
presentingadifferentmodelforcommunication.Theacceptanceofany
formofcommunicationwasmadeclear.
Anythingisallowablebothintermsofresponseandlevelof
participation…anyformofdanceorvocalisationisacceptedasthe
individual’sown,personalresponse.
(Observationnotes:22.05.2105)
25
TheobservationatLarkrisedescribedhowworkinthissettingpresenteda
differentkindofworkshop.Thiswastheschool’sfirstcollaborationwithLa
Foliaandhere,therewasafocusonsongrepetitionandlearning,and
familiarisationwiththemusicalcuesfordancing.Whenpupilsweregivenan
opportunitytoexplorerhythm,vocalisationandmovement,itwasnoted.
Oneboy“whohadnotconformedtothe‘norm’ofwhattheschool
staffexpectedduringthe‘SpinningSong’rehearsal,tookthe
opportunitytodoasoloandimproviseandexperiment.Forhim,this
wasamomentofpersonalexpressionandachievement.
(Observationnotes:23.6.2015).
ForthepupilsintheHearingImpairmentUnit,theopportunitytodescribe
‘Pinkandred,inmyhead’and‘Dancingvoicesinmyhead’enabledthe
pupilstocommunicateanideaoftheirdifferentmusicalexperience.This
wasfurtherexemplifiedinthefollowingdescription.
Thereisonechildwhoisprofoundlydeaf,andhegotahighernote
by feeling the note coming from Emily's body. That was really
magical. They are very comfortable with their physicality because
they are deaf, which is very different from other schools. Because
being deaf you naturally have to use your hands, have to use your
expression,andthatwasonethingthatcameintothemusic.
(ASInterview:22.5.2015)
Forthosepupilswhowereunabletocommunicateverbally,theworkshops
withthevocalanimateur,prompted‘expressioninsinglevocalisationsand
melismas’(HM:pre-performancenotes,26.6.2015).Thisfacilitatedanew
anddifferentlevelofmusicalparticipationandcommunication,whenthese
26
soundsweretakenandwovenintosong.Referringtotheworkshopsatthe
AutisticunitatWoodfordValleyschool,hecited‘A’ssong’asanexampleof
oneofthe‘gemsofexpression’thattheworkhaselicited.
Memoriesfromthedarktimes.Someonewhodoesn'tfitin.Tobe
acceptedforwhoIam.That’swhatIwant.Iseeandhearthings
differently.
(HMnotes:26.6.2015)
TheobservationnotesfromthestaffCPDsessionmadereferencetothe
wayinwhichmusicalideasweretakenandusedbytheworkshopleaders.
Whatevercomesup-theygowithit,evenifitisjustan‘aah’noise.
Initialideascouldjustbeanote,e.g.F,orashortrhythm,thenthey
starttobuildandusethepupils’words,includinghandgesturesfrom
Indian dance. A lot of work is non-verbal, but expressive.
(Observationnotes:23.6.2105)
The observation of the performance in Salisbury Cathedral gave a
description of the way in which a picture was created and communicated
through sound, with broken syllables weaving a rhythmic chant with the
Indianpercussionist.
Therising‘oohs’whichwerebasicallysounds,butrisingusingpitchin
much more of a glissando type way… So we have these syllables,
rhythmic syllables and the ‘oohing and the ahhing’, creating these
picturesofsound-averybeautifulpictureofsound.
(Observerinterview:14.7.2015)
27
Theaudiencefeedbackquestion‘Whatdidyouappreciatemostabout
today’sperformance?’elicitedaneffectivesumming-upoftheimpactof
musicintheproject.
Thisshowedtheextraordinarypowerofmusictocommunicate.
3.1.3Communicationthroughmovementanddance
Physicalresponsetomusicwasseentoplayinintegralrolein
communicationintheworkshops,andwasarecurringthemeininterviews.
Physicalresponsetomusicalstimuliprovidedastartingpoint,forfurther
work.Theearlyexploratorysessionswere,inthewordsofHowardMoody,
reallyaboutusgoingintotheroom,going,andwellwhatisthis?
DiscoveringalanguageandworkingwithAnushaandthedance
initially.
(HMinterview:22.5.2015)
Listeningandrespondingtomusicmadeuseofintuitivereactionto
rhythmicandpitchedsounds.Reflectingonthewaysinwhichthepupils
responded,Theartisticdirectormadereferencetothenotionthatthe
dancerandthevocalanimateurworkedinbasicallythesameway.He
suggests:
Manyofthepupilsusetheirhandsandfacesasthefocalpointoftheir
expression;dance,wheretheirsubtlehandgesturesinstantlyreinterpretedthelanguageofIndiandanceintointimatemomentsof
originalityandopenness…
28
Wherethereisthisphysicalisation,ifthat’stheword,ofeverything
first,andthenit'sintheirbodies,itcomesout.
(HMnotes:23.6.2105)
Communicationwithpeoplewithautismpresentedarangeofchallenges,
oneofwhichwasthatoftouch.Thedancergaveanaccountofhowthiswas
manifestedduringaworkshop:
Shehad,this‘out-cry’,outburst,andIwasreallydoingthiskindof
work(Anushademonstrates)withheranditwasfine,andherteacher
said‘shedoesn'tliketouch.’Andwewerehavingaconversationthe
teacherandI-andIsaidthat‘perhapsit'snotthetouchbuthowyou
touch.AndwhatisitthatIamconnectingintohermovement…’
Soitwasveryinteresting,becauseIfeltshereallyrespondedto
pressure,andthis,(demonstration)andthiskindoftexturealot
more.Likepressuredtexture.
(ASInterview:22.5.2015)
Throughdance,anewwayofcommunicatingthroughtouchwasrevealed,
expandingtherangeofpupilexperiencethatotherwisemayhaveremained
hidden.
Atthefirstcathedralworkshop,anensemblepiecewascreatedwithaboy
inawheelchairwhovocalisedanddancedtothemusicofthreeofthe
musiciansandthemovementsofthedancerthatservedtoillustratehow
communicationcouldbecreatedthrougheyecontact,andthroughlistening
andrespondingtothemusic.
29
Inthefinalperformanceworkshopatthecathedral,itbecameclearthatthe
dancerandpupilsfrequentlycommunicatedthroughwatchingand
mirroringofmovements.
The Indian dancer too, like the musicians, was engaged with
theyoungpeople,sometimeswithindividualyoungpeople,so
she was watching what they were doing and then matching
herimprovisationtothat.
(Observerinterview:14.7.2015)
3.2Theme2 Engagement
Thethemeofengagementledtotheuncoveringofthemesof
• Pupilengagement
• Feelingsandmood
• Audienceengagement
3.2.1Pupilengagement
Therangeofages,abilitiesandexperienceofthepupils,differednotonly
betweenschoolsbutalsowithineachofthesettings.Unlikeworkin
mainstreamschoolstherefore,awiderangeofstrategieswererequiredin
ordertoensureinclusivityandengagement.
ThepupilsofExeterHouseandWoodfordValleyschoolswere,aspreviously
noted,familiarwithLaFoliaprofessionalartistsand,basedonpast,positive
experiences,recognisedandwerepleasedtoseethematthefirst
observation,whichtookplaceattheworkshopinthecathedral.Here,the
pupilsweregentlydrawnintoengagingwiththeactivitiesinaninformal
way.
30
Theprofessionalartistswereinplacebeforethearrivalofthe
pupils and set up in front of the west doors. They were
performing in a ‘casual’ way as the pupils entered, and
immediately the pupils started to join in, - talking, moving, -
andtheprimaryagepupilsespecially,dancingtothemusic.
(Observationnotes:17.4.2015)
Thisinformalstartgraduallyevolvedintothemusicaldevelopmentofthe
first‘protest’theme.Theprofessionalartiststookthelead,introducingeach
newsetofmusicalfragmentspreviouslycontributedbythepupils.However,
becausepriorlearningwasnotessentialatthisstage,allpupilscouldengage
attheirownpersonallevel,andalsoengagethroughpersonalchoice.
Despitetheapparentlyinformalstart,theworkshophadbeenthoroughly
plannedandstructuredandthemoodsandatmospherecreatedbythe
differentmusicalsectionsservedtomaintainengagement.
Asthesessiondeveloped,theprofessionalartiststooktheleadfromthe
pupils’ideasanddevelopedthem.Thesetechniquesofrespondingto
varyingstimulusenabledindividualpupilstodeveloptheirownvery
personalandindividualmusicalandartisticexpression.
Pupilswerewellengagedthroughout,eventhoughthesession
waslongandattimesquiteintense.Theyeachhadthechoice
to opt in and out at will. Changes of scene, activity, mood,
focusandcloserelationshipswithknownstaffhelpedtokeep
pupilsparticipatingthroughoutthemorning.
(Observationnotes:17.4.2015)
31
Followingthisworkshop,theartisticdirectorhadtakenthemelodicand
verbalfragmentsandlinkedthemtogetherassixsongs,withasolopartfor
eachpupil.Hehadbroughtthesebackthefollowingdaytoaschool-based
sessiontosharewiththepupilsandworkonthemfurther.
Suchdevelopmentofparticipantideascanservetovalidatethepupils’
contributionsandenableasenseofsharedownershipofthework.Inthe
secondworkshopobservation,itwasnotedthatthepupilswerefreeto
participateasmuchoraslittleastheywished.Thepupils’levelof
engagementandenthusiasmensuredthattherewashighlevelof
participationandtheobservernotedthat,inthecontextofExeterHouse
There is an ensemble element about the whole [session]
where pupils are engaged together, being part of a wider
group,havingtoconcentrateonwhatishappening,beaware
ofeachother’sresponsesandworktogether.
(Observationnotes:17.4.2015)
Thelevelofpupilengagementinvolvedgreatereffortfortheworkshop
leadersatLarkriseSpecialSchool,wheretwoseparatesessionstookplace.
Thefirstgroup,3boysand8girls,wereallagedbetween11and14.Four
membersofstaffaccompaniedthefirstgroup,twoparticipatedthroughout,
whiletheothertwotookpartoccasionallywhilstdoingjobsinthe
classroom.Twoteachersaccompaniedthesecondgroup,6boysand5girls,
agedbetween14to16years,althoughhere,onlyoneteacherparticipated.
Theotherteacher,workingonalaptop,didnotengagewithanyofthe
activities.LackingpastexperienceofworkingwithLaFolia,aswithExeter
Housepupils,whohavebuiltupfamiliaritywiththeleadersandthe
32
processes,thepupilsatLarkriseappearedtorequireamuchgreaterlevelof
instructionfromtheworkshopleaders.
Forthemostpartthepupilswerenotreallymakingdecisions
or being collaborative in the music making in this session. It
was more like a session by visiting teachers who provided
specialist expertise with heavy reliance on class teachers for
classroom management and to get pupils to participate.
(Observationnotes:23.6.16)
Thelevelofengagementchangedandwasgreatlyincreasedduringthe
session.
Themostproductiveandengagingpartofthesessionswas1)
an improvised section based on Bach and 2) some drum and
piano accompaniment, in which the young people had an
opportunity to explore rhythm, vocalisation and movement
whilstsittingdown.
(Observationnotes:23.6.16)
Itispossiblethat,byhavingthepupilssitdown,adifferentleveloffocus
andconcentrationwasintroduced,whichsupportedthepupils’engagement
withthemusic.Thisexperiencepresentedanopportunityforthe
professionalartiststoreflectonthedifferentapproachestheycouldutilise
toengagethepupils.
Inthesecondgroup’ssession,twoboysdidnotactivelyparticipateinthe
groupsinging,butsatandlistened.Theirlistening,however,couldbe
33
regardedasaformofengagement:theydidnotengageinanyother
activity,andpaidattentiontowhattherestofthegroupwasdoing.
Youcanimaginesuddenlybeingaskedtodosomething.‘Well
no,Ican'tdothat.’Soit’sthisadaptingallthetime.
(HMinterview:22.5.2015)
Itwasimportanttotheworkshopleadersthatthepupilscouldfeelatease
intheworkshops,andthedifferentwaysinwhichthesepupilsengagedwith
themusicalmaterialwasacceptedandvalued.
They also expressed their own rhythm, sometimes physically
rocking. And the notes that they sing are usually the same
every time you meet them. So it's like they have their own
pitch. And if they create something, or if their pitch is met,
thenthatmakesthemcomfortable.
(HMinterview:22.5.2015)
3.2.2Feelingsandmood
Theworkshopsprovidedasettinginwhichthepupilswereabletoexplore
andexpresstheirfeelingsthroughtheirengagementwithmusic,movement
anddrama.Thiswasevidentinthepupils’recognitionofsimilarities
betweentheneedfortheoriginalMagnaCartaandtheirownsituationof
marginalisationanddisempowerment.
Thesongs,whosewordsinitiallycamefromthepupilsinresponseto
emotionsthatwerebroughtoutintheworkshops,re-engagedthose
emotionsintheperformance.Thedramaworkshopsusedparallelsinthe
34
pupils’ownlives,helpingthepupilsmakeanemotionalconnectionwith
whytheMagnaCartawasneeded,andhowitwasbroughtabout.Whenthe
pupilsplayedtheKingoraBaroninthegame,‘TheKingsays’,therewas
indignationattheKing’spower.Alongsheetofpaper,theKing’s‘carpet’,
wasrolledout,andtheBaronswerebannedfromtreadingonit.
Therewasdissentintheroom,assometriedtoputafooton
the king’s white carpet, which only the King was allowed to
walkupon.‘Annoyed’,saidR,‘Iwantapartit’.
(CBnotes:15.4.2015)
Explorationofemotionsthroughdramaandrole-play,withpupilswith
learningdifficultiescansometimesbringoutunanticipatedreactions.
Westartedwithapowerchair,andwhositsinthepowerchair
in our lives: teachers, parents, government. What was
interestingisthatsomeofthesearethesamefiguresweturn
toinordertoaskforhelp–ifweknowhowtoaskforhelp.J
sat in the feeling safe chair. But sitting opposite the power
chair didn’t feel safe at all. I asked what he needed to feel
safe.
He said: ‘die!’ Yikes. I didn’t want psychodrama necessarily,
butthat’swherewewereheading.Mildpanic!Isthereanyone
in the room who can help you, I said. ‘Friends’, he said. Oh,
yes, our friends can help us feel safe. I said. So we formed a
friendship ring around him briefly and just laid a hand on his
shoulder or back. ‘How do you feel now?’ I said. ‘Good’, J
replied.Phew!Relief.
(CBnotes:15.4.2015)
35
Role-playhadprovidedameaningfulscenarioinwhichpowerwasrevealed
ashavingdifferentpossibilities,beneficialordetrimental,andwherethe
valueoffriendshipandempathyweremadeevidentandrelevant.
Theartisticdirector’sreflectiononanWoodfordValleySchoolworkshop
includesareferencetoonepupil,J.
As with all the projects he has been involved with, he has a
habit of suddenly expressing the essence of what is really
going on. I am power, listen to me. I can sing anything. Bad
dreams,baddays,feelingsadabout…Anythingcanhappen.As
Emily said after the song writing session with him, it was so
tempting to try to get him to finish the phrase “feeling sad
about”, but the unfinished phrase is what makes the song so
powerful.
(HMnotes:23.6.2015)
IntheCathedralworkshop,beingengagedeitherasactiveorpassive
participantinthewholeexperience,elicitedavariedrangeofresponses
frompupils.
AteenagegirlintheMorningChapelwasmesmerisedbythe
Indian dance performed to the string unaccompanied Bach.
Theolderboyssatquietlyandwatched.Itwasanothertimeof
great emotional intensity. On a second performance of the
Bach, there was clapping to the beat and then the mood
changed again with a jolly jig and then on again to very
36
successful Indian reggae-like chanting with call and response
andpercussion.
Atthefont,ayoungerboyfromWoodfordValleysatverystill
and watched with great concentration as the water poured
overthesideofthefontontothefloor.
(Observationnotes:17.4.2015)
Thedancingbroughtphysicalityintothepupils’personalandemotional
expression.AtGroveSchool,twoboysworkedwith‘ShamaaShetsa’an
Indiansongwithdrumaccompaniment,usingfootworkandmovement.
Both boys joined in enthusiastically. They were very
responsiveandkeen.
(Observationnotes:23.6.2015)
TheHeadoftheHIUhadseenchangesintheboyswho,theystated
Hehaddevelopedconfidenceinashortspaceoftime.Ais
moreconfidentinthisworkthaninclass.
(HIUheadteacherinterview:23.6.2015)
TheHeadofHIUlisted,amongsttheirachievementsintheproject,
confidence;risktaking;self-esteem;theabilitytoexpressthemselvesand
enjoyment.Thereisasenseofjoythatwasseentoemergethroughthe
pupils’engagementintheproject,andwhichwasgreatlyinevidenceatthe
CathedralinboththeearlyworkshopwithExeterhousepupilsandthe
performanceitself.Theobservationnotesfromtheearlyworkshopreport
37
momentsof“greatintensity,emotionandsynergy”asanensemblepiece
wascreatedwithaboyinawheelchairwho
Vocalisedanddancedtothemusicofthreeofthemusicians
andthemovementsofthedancer.Heretherewasdirecteye
contact,musicalrapport,overlappingofphysicalspacewith
thedancerandarealsenseofshared,unifiedandequal
participationwascreated.Itwasaverylevellingandinclusive
experience.
(Observationnotes:17.4.2015)
Attheperformance,thespaciousenvironmentagainfacilitatedthe
expressionofemotion,thistimethroughtheuseoftheirvoices.Therewas
spaceforpupils,professionalartistsandaudiencetomovearound,togreet
oneanotherandexpresstheirpleasureatbeingtogether.
There was a clear delight on the part of the young people,
going up into that gallery and making the loud sounds there.
Andtherewasarealsense,asmoreandmoreyoungpeople
came,ofthembeingreceived,welcomedandloved.
(Observationnotes:14.7.2015)
Theinitialrelativefreedomofthepupilsfromallfourschoolstoengagewith
theCathedralenvironmentallowedtimeforsettlingin,becomingfamiliar
withtheechoingbuilding,andenjoyingwhatwas,forallbuttheExeter
Housepupils,anewand,potentiallydauntingspace.
Theyoungpeoplewereengagedthemomentthattheycame
in,andIthinkwhatonesawwasarealrespectfortheyoung
38
peopleonthepartofthemusicians.Theywerenotjusttelling
theyoungpeoplewhattodo,theyobviouslyvaluedwhatthey
weredoing.Andtheyoungsterswererelativelyfree,sosome
ofthemwentstraighttothemagnificentfontinthemiddleof
the Cathedral, with the water dripping out of it and were
playingwiththewaterandhavingalovelytimethere.Inthe
front there were some youngsters playing their tone chimes,
and they had got their blue costumes on. And there was a
clearsensethattheyweresohappytobedoingthat.
(Observerinterview:14.7.2015)
Theactivitiesoftheworkshopleadersandmusiciansdrewthepupils
togetherintheprotestsong,signallingthetransitionfromimprovisatory
andrehearsalactivitiestothestartoftheperformance.Forthepupilsinthe
triforium,asinthefirstworkshop,theacousticqualitiesofsucha
performancespaceaddedtotheirenjoyment.
Andthenwegetthegreatcallsfromgallery,anditbecamequiteclear
thatthepupilslovedit.
(Observerinterview:14.7.2015)
Thedifferencesinmoodwereenactedinthepupils’performancemusic,
movementandsongs.
Reflection, Exeter House, (Bright glow of reflected sun shining in the
water,pinkandredinmyhead),wasacompleteandutterchangeof
moodfromthepoweroftheprotestinthewestend…tothemuch
morereflectivewaterysoundsthatweregoingonaroundthefont.
39
…then,“alone,whydoesn’tanyonehearme?”Sothemoodisagain
startingtochangehere,“Whydoesn’tanybodyhearme,whydoesn’t
anybodyhearme?”There’sasortofcallinthat.
(Observerinterview:14.7.2015)
Themusicalperformance,interwovenwithdramaanddance,presenteda
vehiclefortheportrayalofemotionsandmoodinamemorableway,forthe
observer,pupilsandaudience.
3.2.3Audienceengagement
TheCathedralremainedopentovisitorsduringtheperformance,which
openedupanunexpectedexperiencetothecasualvisitorortourist.The
performance,whichutiliseddifferentpartsofthecathedral,movedfrom
oneareatoanother,anddrewtheaudiencealongwithit,inanatmosphere
ofinclusivity.
What we saw was that in music we can be inclusive, given a
certain amount of skill and given, to a certain extent, the
abandoningofnotionsthatwehaveofconcertsandhowthey
behave.
(Observerinterview:14.7.2015)
Thisobservationwasechoedinsomeofthecommentsintheaudience
questionnaires.Responsestothequestion"Whatdidyouappreciatemost
abouttoday’sperformance?”includedsomerelatingtotheirown
engagement.
R21: Movingengagementwithalltheperformers
40
R20: Inclusiveness-includingtheentirecathedral!
Manyoftheanswerstothisquestioninvolvedtherespondents’perceptions
ofthepupils’emotionalengagement:“Theenthusiasm,passionandfun”;
“Theskillandjoyofthepupils,theenthusiasmpassionandfun”;“Theheartfeltperformances”;“Thejoyoftheperformers”and“Thejoyonthefacesof
somanyoftheperformers”.
Tothequestion,“Whatdidyouappreciateleastabouttoday’s
performance?”Tenrespondentsindicatedtheywereunabletoclearlysee
orhearalloftheperformance,withsuchresponsesas“notbeingableto
see”;“sometimesnoteasytoseetheperformance,andwordssometimes
notsoclear”;“Itwasabitofastruggletogetaclearviewfromthechoir
stalls”and“sittinginthethirdsectionandnotseeinganything!”
R17:Themovingaboutwastrickyforsomeoftheaudience,butunderstand
youwantedtomakeuseofthevenue!
Theneedfortheperformancetoendatprayertimedrewseveralofsimilar
responsestothequestion,“Whatdidyouappreciateleastabouttoday’s
performance?”Severalrespondentsindicatedthattheyfeltthattheformal
prayerswereaninappropriateinterruptiontotheMagnaSongs
performance.
R5: Havingtorushattheend
R9: Theinterruptionforprayerstowardstheend
R12: Theinappropriatelytimedprayerbythechaplainbeforethe
performancehadproperlyfinished
R18: Cathedralprayerattheend–nothanksgiven”
41
“Howdidtoday’sperformancemakeyoufeel?”againbroughtseveral
responsesthatsharedsimilaremotions.Threerespondentssimplywrote:
“Emotional”,andtwo,“Joyful”.Othersgavesimilar,fullerresponses.
R2: Filledwithemotions–joy,delight,sadness–butaboveall,Iwas
deeplymoved.
R5: Thrilled,overwhelmed,delighted
R6:
Attimes,verymuchmoved(almosttotears)–alsoupliftedbythe
enthusiasmofthepupils
R11: Exhilarated,happy,impressed,positive
R12: Moved,inspired,uplifted,energised
R13: Amazed,astonished,humbled
R17: Joyousandinspired
Theotherresponseswere:“Lostinadmiration”,“Verypleasedthatthings
likethishappeninWiltshire”,“Proudofothers”,“Gladofthisambitious
projectintheCathedral”,“Enhancedgreatly”,“Happy!”“Humble”,
“Amazingandsad”,and,fromaparent,“Great.Blessed.Veryfortunatethat
mydaughterbenefitsfromLaFolia”
TheCathedral,opentothepublicasusual,didnotmakechangestothe
day’stimetableforprayers.Thiswasnotedintheobservationontheday.
ButIsupposetoacertainextentthepressureoftheCathedral
towanttodotheprayer-inafunnywayIfoundthistricky,
becauseIfoundallofthispieceasaprayer,andaverydeep
prayer...
42
…therewasasensethattherewasnoallowanceforthe
improvisatorynatureofit,onesuspectsthatthecathedralis
usedtoliteratemusicaltraditionswhereyoustartatbar1and
youendatbar50,andthattakesasetamountoftime.
(Observerinterviewnotes)
3.3Theme3 Leadership
ThemembersoftheLaFoliateamwereabletoutiliseawiderangeof
knowledge,skillsandexpertisethroughouttheprocess,inencouragingand
enablingexperiencesthatfacilitatedparticipation,learningandpersonal
development.Thesubthemesthatemergedconcern:
• LeadershipandCommunication
• Skillsandexpertise
• Professionaldevelopment.
3.3.1Leadershipandcommunication
Theleadershipmethodsandstylesimpactedonthewaysthatthepupils
wereabletoparticipateandlearn.Becausethereisgreatdiversityinterms
oftheiragesandabilities,itisincumbentontheprofessionalartiststofind
appropriatewaysofcommunicatingwiththem.Whatisclearisthatpassion
andcommitmentwererequiredinordertocreateaperformancepiecethe
sizeandcomplexityoftheMagnaCartawork,andtheworkshopleaders’
pastexperienceinworkingwithpupilswithlearningdifficulties,ASDsand
profoundandmultipledisabilitieshadbeenasignificantfactor.
Althoughmonthsofplanningwentintotheproject,andanoverarching
narrativeandmusicalframeworkhadbeencarefullyconsidered,itbecame
43
clearthat,apartfromtheideaofMagnaCarta,itisnotuntilworkhadbegun
withthepupilsthatthepiecebegantoemerge.
If you to talk to a writer who is writing a novel, a composer
who is writing a big piece, or a choreographer, and you ask
them whilst the piece is evolving, creating it, or carrying out
theirideas,-theycan'tgouptoagroupandtellthemexactly
whatitis,because,it'snotthetruth.Whatitis,istheevolving
moment.AndIthinkthekeywiththisgroupisnottoburden
themwithinformation,becausethatwouldkillitforthem.It's
tooabstract.Maybeintheartsthat’sactually,-it’struetosay
thatthat'strueofallprocesses.
(HMinterview:23.5.2015)
WhenreferringtoworkingwiththeautisticunitinWoodfordValleySchool,
the artistic director suggested that detailed planning could not always be
implemented.
Youneverquiteknowwhatyou’rewalkinginto,thedynamics
of the particular group, how long you’ve got with them, the
mood in the room because of what may or may not have
happenedjustbeforeyouarrive.
(HMinterview:23.5.2015)
Flexibility and creativity were necessary qualities to bring to such work, so
that ideas could then be drawn out for development within a general
framework.
You can plan for years and go in, and within seconds they
showyouthatyou'replanningisnotthedeal.You'renotgoing
to get what you want… And I think creating a project with
44
them, to me it is the same task as being commissioned to
write an opera or a big symphonic piece. It’s just that one
processIdoonmyowninaroomandthenitsuddenlygoes
out;thisone,ithastoevolveinthemoment.
(HMinterview:23.5.2015)
All the professional artists, involved in the project, worked collaboratively,
supporting and extending one another’s ideas to develop the pupils’
engagement and involvement. The artistic director described how he saw
thisrelationship.
Ithinktheteamthatwascreatedforthisproject,everyoneis-
they’reallpeoplethattrust.Itworksthroughtrust,Ithink.So
it’samusicalandanartistictrustandapersonaltrust.Soina
way,withthatopenness,Ithinkitallowssomuchin.
(HMinterview:23.5.2015)
Whatever responses come from the pupils were valued and treated with
respect. Ideas were taken, dramatic, musical and physical, and developed
through a combination of pupils’ and professional artists’ creative
collaboration, and this allowed the ideas to gradually evolve and build up
intosomethingmuchbiggerandcoherent.
That'stheauthenticityofworking,creatingapiecewithother
people. One could go to the fanciest music conservatoire or
groups and whatever, and write a piece of music with other
people that write music. Fine, great, let's do it. But why not
take that process elsewhere? And really what I think, what
45
comesouthere,ismoreoriginal.Andcertainlythephysicality,
andAnushaandEmilyworkinginbasicallythesameway.
(HMinterview:23.5.2015)
ThecreationofthenarrativedramawithExeterHousepupilswasbasedon
theactor’sthoroughexplorationofthehistoryandmeaningofMagnaCarta,
andhiscarefulconsiderationofhowitmightbemaderelevanttothepupils.
Heexplained:
I’m not a history or politics teacher. I’m an actor, storyteller,
deviser, director, workshop leader. And they are not ‘A level’
politics or history pupils. But their openhearted, generosity,
and willingness is unparalleled. They all have PhD’s in
openheartedness.
(CBnotes:15.4.2015)
Theconceptsofpowerlessnessandneedwere,initially,conveyedthrough
theideaofahomelessman,whodidnotknowhowtoaskforhelp.Theidea
wasfurtherdevelopedtoencompassnotionsofpowerlessness,power,
controlandseekinghelp.Thiswayofworkingfacilitatedthepupils’
understandofsomechallengingconcepts.
Interviewer: A teacher was comparing previous things and
sayingMagnaCartaisahardthingforthem.Ahardconcept.
Butactuallywhatisextractedfromitarethingsthatseemto
meatanyrate,tobevery,verymeaningfultotheyoungsters.
Aboutfindingavoiceandbeingpowerlessorpowerful,andso
on.Andsoinaway,itseemstobeveryrichstampingground.
Obviously I wasn’t in at the beginning, so I haven't seen how
46
that'sevolved.Butwhereyou’vearrivedcertainlyseemstome
toconnectverystronglywithteenagersinparticular.
HM: It's like everything. When you turn up, you have to do
thingsverysimplyandclearly,andthattakesmonthsofwork-
to be able to break the silence with that amount of clarity. If
youcandoitsuccessfullyyou'reoff,aren'tyou!
(HMinterview:23.5.2015)
3.3.2Skillsandexpertise
Thedifferentskillsthattheprofessionalartistsbroughttotheprojectwere
notsimplythoseconnectedwiththeirspecificartisticabilities.Interpersonal
skills,aswellasartisticskills,wereapre-requisiteforworkingwithyoung
peoplewithsomanyvariedandspecialneeds.Inalltheworkshopand
interviewdata,anaspectthatemergedascommontoalltheleaderswas
thenotionofequalityandrespect,ofacceptingallideasandvaluingthemas
worthwhile.
Theyusedtheirprofessionalexpertiseandskillsinavarietyofways.At
times,themusiciansperformedknownmusic,providingstimulifor
improvisationofmusicalfragmentsormovement,ortoestablishor
influencemoodandatmosphereindifferentsettings,andtoprovidemusical
cuesnon-verbally.
Thereisalmostalwaysamusicalbackgroundwhichtakesthe
placeofverbalinstructionsbygivingaudiocluestomusical
material,styleandmood.
(Observationnotes:22.5.2105)
47
Someofthesessionslastedhalfanhour,withnowords
spoken.
(HMnotes:23.6.2015)
Themirroringofpupils’movementsorsoundsprovedtohavebeenagentle
andeffectivemethodoffosteringparticipatoryactivity.Theartisticdirector
describedthecreationofdanceswithsomeofthepupilswho,inthe
absenceofverbalcommunication,usefacialandgesturalexpressiveness
Anusha mirrored their gestures and movement, taking their
expressionsoffeelingtoanewpowerfulplace…
(HMnotes:23.6.2015)
WorkwithpupilswithASDsandlearningdifficultiesrequiredadaptability
andpatience,particularlyincommunicationandlistening,and
understandingoftheirsensitivities.Thefirstworkshopobservationnotes
sumuptheprocessesandskillsdemonstratedbytheworkshopleaders
who:
…improvisedonthefragments;instigatedandcreatednew
material;respondedtopupils’ideasandfurtherdeveloped
themthroughmovementandmusic.Theyalsoencouraged
andenergised;madedirectandeffectivepersonal
connections;actedastherapists,actedassoloistsandworked
inensemble,tookaleadingroleoranaccompanyingone,and
coveredawiderangeofmusicalstylesandtraditions.
(Observationnotes:17.4,2015)
Thisteamworkwasfluid,flexibleandartisticallyintuitive.Forpupilswith
ASDsandotherseverelearningdisorders,thedifferentlevelofengagement
48
andunderstandingpresentedadeeperchallengeandthenecessityfor
tryingoutnewwaysofdrawingoutmusicalresponses.Thiswasillustrated
intheaccountofasessionwithnon-verbalpupilsatLarkrise.
They used both movement and sound in different ways, and
Howard was also finding ways of finding the instrument to
vibrate on their bodies, to, I suppose, connect, draw out and
toshareeachother'swaysofworkingwithsound.
(AS:Interview22.5.2015)
Thecollaborativenatureofthesessionswasfurtherdescribedinthe
accountofthesynthesisofartisticpracticeswhendancetherapistand
singerworkedtogetherwithpupils.
atruefusionofmovementandvoiceworkwherethestructure
of a large scale project has facilitated two people to work
through different disciplines but with the same intention.
There were some amazing sessions where both movement
andsongemergedsimultaneously,suchasG’ssongthattook
usimmediatelyintoameditativespaceofreflection.
(HMnotes:23.6.2015)
3.3.3Professionaldevelopment
ThenotionofprofessionaldevelopmentwasembeddedinLaFolia’sethos.
InthecontextoftheMagnaSongsproject,thisconstitutedtwostrands.The
firstisreflectionbytheprofessionalartistsontheirpracticeand
considerationofwaystoimproveandextendtheirskills.Thiswasevidenced
inthereports,notesandinterviewswiththeprofessionalartists,who
49
reflectedontheirexplorationsandstrategies,identifyingwhathadworked
wellandaspectsthatneededfurthercreativeinput.Thiswasespecially
evidentintheirworkwithGrovePrimarySchoolHearingImpairmentUnit.
Here,theworkshopsthrewupnewchallengesthatrequiredafresh
approach.
Thesecondstrandwastoopenupopportunitiesforstafftogainconfidence
andfurtherunderstandingofthewaysinwhichcreativityoffersdifferent
waysofengagingwiththepupilsandsupportingtheirlearningand
development.Teachersand/orsupportstaffwerepresentinallthe
workshops,rangingbetweenone-to-onesupport,andonememberofstaff
forawholegroup,dependingontheneedsofthepupils.Itwasnoted,in
onesession,that
There were some attempts to involve the carers in the
activities, but this didn’t meet with much success. When
asked, the carers said they were there to support the pupils,
andtheirprimarytasksthroughoutwereseentobehealthand
wellbeing.
(Observationnotes:22.5.21015)
Itisunclearwhetherthiswasduetoinhibitionoralackofconfidenceto
engagewiththeactivities.Afteraworkshop,onecarerremarkedtothe
observerwholaterinterviewedtheartisticdirector,thatshewould“rather
bungeejumpthansingbyherself”.Thissamepersonalsosaidthatshehad,
…learned this morning about how important it is to try and
communicate with pupils here in ways other than through
speech.Shesaid,‘Ilearnedthatfromthedancerthismorning’.
50
(Interviewer,HMinterview:22.5.2015)
Thisdemonstratedawayinwhich,throughexample,stafflearningcanbe
supportedanddevelopedandnewstrategieslearned.
Inotherworkshops,somestaffwereseentousethetimewhenthepupils
wereengagedintheworkshopactivitiestofocusonotherwork,while
otherspresentactivelyparticipated.
Anotherexampleisthatofateacherwhoparticipatedthroughoutandwas
keentorehearsewiththeclassduringthefollowingweek,soarecordingof
thesongwasmadetohelpwiththis.
TenmembersofstafffromtheschoolwherethestaffINSETwasheld
attendedthesession,andtwofromGroveSchool.Astherewasonlyasmall
groupofpupilsfromGroveSchool,farfewerstaffwereinvolvedwiththe
project.Thesessionbeganwithaverbalwarm-up.Forthose,likethecarer
whohadpreviouslysaidshedidnotwanttosing,thismethodofintroducing
vocalworkthroughspeechappearstohavebeenaneffectivemeansof
drawinginthepupilsandgraduallybuildinguptheirconfidence.
Movementwasintroducedbeforeanypitchedvocalsoundswere
introduced.Byhalfwaythroughthesession,withouttheuseofspoken
instruction,asoundscapehadbeendeveloped,and,bytheendofthe
session,asonghadbeencreatedthatwouldbeperformedintheCathedral.
Reflectiononwhathadbeenachieved,andhowithadcomeaboutwasa
valuablelearningexperienceforthestaff,whohadgainedinsightintotheLa
Foliamethodologyofdevelopingmusicalmaterialfromideathroughto
51
completedsongs.Itwasnotedthat, insomeschools,theCPDsessions
providedbyLaFoliaareoptional,whileinothers,staffarepaidtoattend.
4Conclusionsandrecommendations
4.1Thepupilworkshops
Thefirststatedaimoftheprojectwas:Togiveavoicetopupilswhohavelimited
meansofexpression,throughavarietyofgenres”.Theconceptsofvoiceand
empowermentarecloselylinked,andtheenablingexperienceoftheformerhas
thecapacitytofacilitatethelatter.Havingavoiceandbeingheardare
empoweringandtheprincipaloutcomefromthisprojectwasthatthepupilswere
helpedtofindavoicethroughartisticinterventions,andthat,throughthese,their
voiceswereheard.
Thedataalsosuggeststhatthroughtheproject,somepupilslearnedaboutand
understoodtheconceptssurroundingtheMagnaCartaand,throughdramaand
role-play,wereabletoexpressempathy.Inthisway,theprojecthelpedfurther
fosterpupils’conceptuallearningandemotionaldevelopment,aswellas
broadeningtheirknowledgeandunderstandingoftheworld.
Furtheraimsoftheprojectweretoexploremusicinitsmanyforms,explore
visualartsanddevelopsongwriting.Alltheseaimsweremet.Forthepupils,
thisinvolvedexposuretoawiderangeofmusicalgenres,Indiandancingand
vocalwork,allofwhichresultedinincreasedself-confidenceformanyofthe
pupilsandofferednewphysicalandemotionalexperiencesthatwere
freeingandenabling.
52
Duetoreasonsdiscussedatthestartofthisevaluationthelackofany
baselineandendofprojectdata(SeeAppendixB),tomeasurelevelsof
socialintegration,inclusion,participation,contentmentandmotivation,has
precludedafullerexplorationoftheimpactoftheproject.
4.2Performances
Theaimsofshowingtothegeneralpublicthecreativequalityofthepupils,
andshowcasingtheworkofpupilstoawiderpublicinavarietyofsettings
wasinitiallymetinthepupils’performanceinSalisburyCathedral.Although
thisaudiencewaslimitedtothosewithsomeinvolvementintheprojector
withLaFolia,andthewideraudienceconsistedpredominantlyofcasual
visitors,thiswasappropriate.Thewayinwhichtheperformancemoved
aroundthespace,withthelargenumberofcarers,pupilsandmusicians
involvedalargeraudiencethatwouldbeabletoseeandhearallthatwas
happeningcouldnothavebeenaccommodated.Itisclearfromaudience
responses,thatthereweresomeissuesinvolvingvisibilityandaudibilityof
theperformanceattimes.
Theperformancethattookplaceinthehospital,andnotincludedinthe
observations,willhaveprovidedanotheropportunitytoreachawider
publicgivingmedicalstaff,involvedwiththepupils’care,anopportunityto
seetheminadifferentlight.
TheChamberconcertatSalisbury’sMedievalHall(seeAppendixC)with
internationaltenor,MarkPadmoreamongsttheprofessionalartistswho
performed,alsoservedtodevelopabroaderaudienceandexposedthe
pupils’collaborativeworkinanewway.
53
Theaimtogiveavoicetofamilieswhohavelimitedmeansofexpression
throughavarietyofgenreswastobefacilitatedthroughaworkshop,but
thisdidnottakeplaceasitdidnotattractenoughsupporttobeviable.The
filmandsongsoftheperformancearenowavailableviatheLaFoliaweb
site.
4.3TheSchools
Thelevelsofstaffparticipationwerevaried:somestaffwereabletostep
backtoallowthepupilstoengageindependently,whileotherpupilsneeded
amuchhigherlevelofsupport,accordingtotheirparticularneeds.
ThepresenceoftheLaFoliateamwasseenbysomestaffaspresentingan
opportunityforthemtodootherworkwhilethepupilswereoccupied.
Othersexemplifiedintheactionsoftheteacherwhorequestedarecording
sohecouldcontinuetheworkintheabsenceoftheteam,wereclearly
enthusedandengagedfullywithinandbeyondtheworkshops.
Withoutthepossibilityofcompletingquestionnaires,orinterviewingthe
staff,itwasnotpossibletogainsufficientinformationtodeterminestaff
attitudesorlevelsofengagement.Thelegacyandlongertermimpactofthe
projectwithregardtothepupilsissimilarlydifficulttoassess.
4.4LaFolia
Theprofessionalartistsdemonstratedtheabilitytocreategood
relationshipswiththepupilsandtheirinterpersonalskillsandcaring
attitude,alongwiththeircreativity,enabledandempoweredthepupilsand
challengedthemcognitively,emotionally,creativelyandphysically.
54
Theydemonstratedahighlevelofrespectforoneanother’sskills,
knowledgeandexpertiseandthecollaborativenatureoftheirworkcreated
anenablingatmosphere.Theywereclearlycommittedto,passionateabout,
theirworkandreflectedindividuallyandtogether,todetermineappropriate
waysforward.Workinginnewsettingsparticularlywiththepupilsinthe
HearingImpairmentUnit,wenttowardsmeetingtheaimofproviding
professionaldevelopmentforthosewhohadnotpreviouslyworkedinthis
context.
Theartisticdirectorprovidedthemusicalfoundationsfortheproject,using
hisskillandcreativityincompositiontobringtogetherthemusical
fragmentsintowholepieces.ThemusicthatwasdevelopedfromtheMagna
SongsinvolvingtheexpandeduseoftheEinfälleandintegrationwithBach’s
TheArtofFugue,presentedthepupils’workinadifferentform.Acritical
appreciationofthisworkistobefoundinAppendixC.
4.5Recommendations
• Todevelopsomeguidelinesfortheschoolstaffonthelevelof
participationthatwouldbestsupportpupillearningintheworkshops
• Toconsiderapplyingforthefundingofschoolstaffprofessional
developmentworkshops.Thiscouldfacilitategreaterunderstanding
oftheworkofLaFoliaandcontributetoon-goingmusicandarts
work,oncetheprojecthasfinished.
• Toconsiderthenatureoftheperformancespaceandexplorewaysof
facilitatingaudiencesightlinesandaudibility.
• Toensureclearcommunicationwiththosewhomaybeaffectedby
thenatureofthetimingswhereimprovisedperformanceisinvolved
55
inanopenpublicspace.FutureCathedralserviceandprayertimes
mightbelessrigorouslyadheredtoifthiscanbearrangedinadvance.
• Toincorporateresearchandevaluationintoprojectplanningfromthe
outset.Anin-depthstudywouldbebestundertakenbyengaginga
researcheratthestartoftheplanningstage.Thiswouldfacilitatethe
identificationofappropriateandfeasiblemethodsofdatacollection,
usingvalidatedmeasures.Thiswillensurerobustnessandrigour,and
uncoveroutcomes,processesandpracticesinsufficientdetailto
effectivelyinformfutureprojects.Greateraccuracycouldbeachieved
inpredictingthecosts,whenevaluationisconsideredtobe
embeddedintoaprojectfromtheverystart.
56
5Appendices
AppendixA–EthicsApplication
ThisisacopyoftheoriginalapplicationformfortheUniversityof
WinchesterResearchandKnowledgeExchangeethicsapproval.Thedatesof
performanceswerechangedinthefinalevaluation.
Evaluation of the Magna Carta Project
Dr. Costanza Preti
Centre for the Arts as Wellbeing - University of Winchester
1. Show clearly the aims, objectives, location and methodology
TheevaluationwillassesstheimpactoftheMagnaCartaproject
(deliveredbyLaFolia,amusiccharitybasedinSalisbury)onpupilsand
teachersinvolvedintheproject.TheprojectisduetostartinMarch
2015andwillbecompletedbytheendofApril2015.
Theaimoftheprojectistodesignaseriesofmusicsessionsdesigned
toexplain,throughmusic,theroleoftheMagnaCarta.Therewillbe
twophasesintheevaluation.
Duringphaseonearangeofbaselinedatawillbecollected.A
specificallydesignedquestionnairewillbehandedouttoallthepupils
participatingintheprojectcontainingmeasuresofsocialintegration,
emotionalinclusion,belongingness,participation,contentmentand
motivation.
Theteacherstakingpartintheprojectwillalsobeaskedtocompletea
questionnaireontheirlevelsofconfidenceinteaching,theirperceived
changesintherelationshipswiththepupilsthroughtheshared
engagementwithdifferentartforms,andtheimpactthattheir
involvementintheMagnaCartaprojecthadontheirteachinginother
areasofthecurriculum.
InPhase2oftheevaluation,thequestionnaireswillbere-administered
tobothpupilsandteacherstoassessanylevelofchange.Theschools
havenotyetbeenselectedbuttheywillbelikelytobe3specialneeds
schoolsinthesurroundingareaofSalisbury.
57
2. Where involving human pupils, comment on criteria for
selection/interview and sample size
AllthepupilsinvolvedintheMagnaCartaprojectwillberecruitedfor
theevaluation.
3. If consent is required, who is to give it?
TheHeadteachersofeachschooltakingpartintheprojectwillbe
contactedtoreceivepermissiontorunthestudyintheschool.The
parentsofeachchildwillbeaskedtosignaconsentformtoallowtheir
childtotakepartintheresearchiftheywish.
4. Outlining potential risks to the pupils and how you will deal with this.
N/A
5. Stating the information to be given to the pupils (attach copies of
letters or information sheets that will be given to the pupils)
Aconsentformfortheparentsandaletterfortheheadteacherof
eachschooltakingpartintheprojectwillbeattachedtothe
applicationassoonaswewillbeinformedaboutthedetailsofthe
schoolstakingpartintheproject.
6. Note the published code(s) of practice being followed
TheresearchwillfollowtheBERA–BritishEducationResearch
AssociationEthicalGuidelines.
7. Whether the project involves any other disciplines or local ethics
committees
N/A
8. What arrangements have been made to ensure the confidentiality of
data collected, and compliance with the Data Protection Act
InaccordancewiththeBERAethicalguidelines,theidentityofeach
participantwillbeprotectedbyanonymisingallthenameofthepupils
andbyremovinganydetailthatcouldmakethemrecognizable.
58
9. Whether payment to the pupils will be made.
N/A
10. Whether the project will receive financial support from outside the
University
TheprojectisfundedbytheArtsCouncil.
11. Whether pupils, employers or ethics committees have placed
restrictions on the publication of results
N/A
12. Any further points you may wish to make in justification of the
proposed study
N/A
13. A summary of the issues and actions taken to address the ethics
issues
ParentsandHeadTeacherswillbeaskedtosignaformtoallowtheir
pupils/pupilstotakepartintheevaluationoftheMagnaCartaproject.
Thestudywillbebasedonpreandpostmeasureofoutcomes.
59
AppendixB-Questionnaire
‘Magna Songs’ Project by Wiltshire Schools and La Folia
Salisbury Cathedral
Tuesday 14 July 2015
Please spare a few minutes to answer the following questions about today’s performance.
Circle your answer or write a few words on the dotted lines.
1.
Do you have a direct connection to any of these?
2. How far have you travelled to today’s performance?
a) A Performer
b) A School
c) La Folia
d) The Cathedral
e) None of these
a) 1-5 miles
b) 5-10 miles
c) 10-20 miles
d) More than 20 miles
3. How often have you been to a performance in the Cathedral in the past?
a) Never
b) A few times
c) Many times
4. What is your age range?
a) Under 19
b) 19 - 40
c) 40 – 60
d) Over 60
5. What did you appreciate MOST about today’s performance? ………………………
…………………………………………………………………………………………………
6. What did you appreciate LEAST about today’s performance? ……………………
…………………………………………………………………………………………………
7. How has today’s performance increased your awareness of Magna Carta?
...………………………….……………………………………………………………………
8. How did today’s performance make you feel?
.….....……..……………………………………………….………………………………………
9. Are you interested in finding out more about the work and events of La Folia?
YES / NO
10. Any other comments?
……………………………………………………………………………………………..………
………………………………………………………………………………………………………
………………………………………………………………………………………………………
60
AppendixC-ConcertPerformancenotes
HowardMoodyMagnaCartaSongs,MedievalHall,Salisbury
Thiswasthemostamazingexperience.Myattentionwasheldthroughout
andtherewasverylittlethatIdidnotthinkworked(onlyreallythejointo
thestylizedAllaFrancescamovement)inwhatwasanamazinglycomplex
andinnovativeproject.
1. LessexperiencedpeoplecancreateEinfaelle(Hindemith1952),small
musicalmotifswhichhaveexpressivecontentbuttheycannotplace
themintolongerartisticgenres.Theuseofthemunaccompanied–in
theirnakedformsungbythesinger-waswonderfulbecauseit
revealedtheoriginalform.
2. WhatthatrevealedintheBachwashowBachwasabletoput
togethertheEinfaellesoeffectivelyinTheArtofFugueandhowthe
ArtofFugueistheepitomeofthis.Perhapsattheendofhislifeheis
puttingtogetherthefragmentsofhislifetomakeacoherent
statement.Thisishismusicalautobiography.Thesoftplayingofthe
strings(withoutmutes)gavethisunfinishedfugueanetherealquality.
3. Themusicgoeson,saysHoward,becauseitgoesonafterBach’s
deathinhislifewithGodandthesuddenclosewhereitisunfinished
andtheamazinglylongsilencefromtheaudienceshowedthisclearly.
Oddlytheseepagefromtheaudibledistantrockconcert,whichwas
distantandmysterious,madethisclearer.
4. Themusicalsogoesonbecausetheyoungstersarelivingcomposers
whoarecarryingontheprocess.Thesimilaritybetweentheirmotifs
andthoseofBachwasstriking.TheBachmotif–theminorchordand
theshortscaleissoarchetypal.ItcertainlymadethelinkagetoThe
ArtofFuguepiecesmucheasier.OrdidHowardhavethismotifinhis
headwhenheheardtheyoungsters’motifsandshapetheminthis
way?OrwasitSuewhowrotethemdown?
5. TheintegrationoftheIndianelementsworkedwell.Theywere
mostlyinseparateepisodeswithpercussion.Theywere
predominantlyrhythmic,withthecelloandguitarsimulatingdrones
oftheIndianinstrument.Onlyforthefinalchoraledidthedancer
dancebuttheIndiandancetothechoralewaslikeSteinereurhythmy,
itwaslikeseeingthesoulofthemusic.
61
6. Theintegrationoforateandliteratemusicaltraditionswasamazing.
TheBachwasleftintact,thejoiningofthemoreimprovisedepisodes
orevenorate(butfixed)episodeswassowellhandled.
7. ThehintsatTheHurdyGurdyMansongfromSchubert’sWinterreise
gavethewholethingimmensepoignancy.InitiallyIwonderedwhy
therewerenosectionsofWinterreisebearinginmindthedescription
intheprogrammebutthenIrealisedthatitwasmindofthesinger
andthehandsoftheharpsichordistwhousedthatdecorateddroneof
thebottomoftheSchubertsooftenandsometimesevenusedthe
poignantsimplerighthandmelody.
8. TheuseofmaterialfromamarginalisedgroupbroughtMagnaCarta
souptodatethattheaudienceweretalkingaboutthecurrent
migrantcrisisandhowthewholepiececouldbeaboutthat.
9. Thispiecewasaboutradicalinclusion–oftwodifferentculturesand
peopleonthemarginsofaculture.Itshowedmehowthefuguewith
allthoseindividualisedpartsforeachplayerrepresentssocietywhere
wealldoitourwayandthenhavetoworkatcoherenceisa
wonderfulmirrorofadiversesociety.Thewholefittedtogether
becauseitwasamirrorofhumansocietyatitsbest.
JuneBoyce-TillmanSept20th2015.
62
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