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We all know that Shakespeare should be taught on your feet.


Now a three-year study has yielded teaching approaches learnt from actors that improve achievement and behaviour as well. Fiona Banks from Shakespeare’s Globe explains more


would look like or what we would discover about Shakespeare’s plays through playing in it but they were clear about the two central principles that should inform their teaching. First, that Shakespeare’s plays were best taught


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actively, by students exploring them as actors do, “on their feet” with the words in their mouths, motivated to speak and act by a character’s emotional response to their situation. Second, that Shakespeare’s plays should be


experienced as plays performed in a theatre – that seeing, or as Elizabethans used to say, “hearing” a play made a vital contribution to our ability to engage or connect with and indeed study it. By 2006, the Globe Theatre had been open for nine


years and since its opening, more than 800,000 young people had passed through our doors. Our central beliefs remained the same. Evaluating our work as we approached the 10-year anniversary of the Globe Theatre we had what is probably best described as a Mandy Rice-Davies moment. Educators at a major cultural venue focusing on the


work of Shakespeare believe that: “Shakespeare should be explored practically as actors do. Students should see Shakespeare live at the theatre as an essential part of their study.” Well we would say that, wouldn’t we? But was this really true? Did exploring Shakespeare


actively in the classroom improve attainment and enjoyment? How could we promote the value of seeing Shakespeare in performance when we were also acutely aware of barriers of cost and accessibility in many productions? Enter Deutsche Bank, which was interested in both


of these concerns and agreed to fund what became the project Playing Shakespeare. A key part of this project was a three-year study


among a group of six London state schools into the effect of active approaches to Shakespeare on teaching and learning. Completed at the end of the last academic year, our


findings reveal that integrating active approaches into a Shakespeare unit can help students achieve well beyond what had been predicted at the start of the unit. In some cases students achieved more in a term than had been expected in a year. A teacher summed up the impact of using active


T IS a little known fact but workshops were being taught in Sam Wannamaker’s offices just one street away from the eventual site of the Globe Theatre 11 years before the theatre itself opened. The actors and teachers who delivered them were not certain what the final theatre


On your feet!


approaches on a 13-year-old boy often in trouble for poor behaviour: “Now that he’s fully participating in class rather than standing in the corridor he can achieve his potential.” The student himself acknowledged: “Before we


started the new work all the sitting and reading out was boring and I couldn’t see the point of Shakespeare at all. First time we did it I felt a bit silly but I became more confident. I thought people would mess about but they were taking it seriously and it made me want to do it properly. These were my best lessons in school ever and they have helped me to understand the (Shakespeare’s) language.” Active approaches appeared to have the biggest


impact on boys and the previously disaffected, and this is an area that we plan to investigate further. While the teachers in our study universally


recognised the benefits that this style of teaching can bring to teaching Shakespeare, and the wider curriculum, they found many barriers to integrating them into the classroom. Catriona Davies, English teacher at Bow School


for Boys in London, who ran a very successful Shakespeare unit as part of the study, told us: “Chaos in the classroom was a fear and behaviour management was an issue at the start while students got used to everything. As it progressed students’ behaviour was better than usual. “These were the best lessons of the year and


students’ understanding was embedded because they played with the language and understood it. We all feel more confident using the approaches next year and I know that we will use them across the curriculum.” The other key element of the Playing Shakespeare


project was to provide theatre, made especially for young people in key stage 3 and 4, free to London schools. This year’s production – A Midsummer Night’s Dream – will be seen by students from 119 London secondary schools. Since the project began in 2007 it has provided more


than 70 per cent of London’s state secondary schools with more than £1 million worth of free tickets for more than 50,000 students, often the first visit to live Shakespeare and theatre for these 11 to 16-year-olds.


Tracey Phillipson, the community arts and business


advisor at Wanstead High School in east London, sums up the benefits of seeing live theatre for her students: “The performance of Macbeth held the students attention through the use of space – the performers coming through the audience and interacting with them, the soldiers coming in on the zip wires, etc. “The use of live music was also effective as well.


The students enjoyed the action scenes and the shock factor of the body bags moving and the corpses coming back to life. Some of the students were a bit reluctant to go beforehand but really enjoyed the experience once they saw the play. Most were able to better understand the language from seeing the performance.” In a still uncertain curriculum climate our concern is that active approaches will prove even harder to


integrate and that teachers will find it difficult to receive the training or support they need if these approaches to learning are regarded as a “risk” in their school. As we await the publication of the Henley Review


into the role of the arts in schools we look forward to a clearer vision for the way students engage with the arts and the way the arts can be used as a teaching tool to engage young people.


SecEd


• Fiona Banks is head of learning at Globe Education, which is based at Shakespeare’s Globe in London.


Further information


• Globe Education at Shakespeare’s Globe: www.shakespearesglobe.com/education


• Playing Shakespeare: www.playingshakespeare.org


Increase your school’s level of funding


Fundraising for Schools is a monthly magazine, containing essential information on all the available sources of extra school funding from which YOUR school could benefi t.


A subscription to Fundraising for Schools will enable you to:


• Find out all the awards and grants that are available, and the criteria for application;


• Formulate the best fundraising strategies for your school;


• Learn from the successes and failures of other schools that have previously applied for funding;


• Keep up-to-date with the latest fundraising stories; and • Increase the level of funding for your school.


TO SUBSCRIBE visit www.practicalfunding.co.uk


Bard walk: Andrew Whipp plays Duncan in the Playing Shakespeare production of Macbeth last year (main image, top) while students from John Paul II School in Wimbledon, London, are pictured during a Playing Shakespeare workshop (above)


SecEd • March 1 2012


Fundraising for Schools – your essential practical guide to raising money!


13


Call FREEPHONE 0800 137201 or


Photo: Nick Gurney


Photo: Ellie Kurttz


awards and grants PRIMARY/SECONDARY Kelloggs Active Living Fund


The Kelloggs Active Living Fund will give small grants to projects and activities that directly lead to people taking part in sustained physical activity. The aim of the fund is to help remove the barriers which stop people being active.


Award criteria The Kelloggs Active Living Fund is keen to fund activities that enable adults and children to exercise together. The fund is open to applications from charities and other voluntary and community organisations. Schools can apply but the fund will only consider contributing towards extra-curricular activities that promote sustained physical activities.


Kelloggs will make a grant of up to £1,000, but will only fund activities or projects where the grant makes a signifi cant impact. For example, Kelloggs would consider a grant of £1,000 for a £2,000 project, but would not consider a grant of £1,000 for a £10,000 project.


Applications will be judged against two key criteria: Project type and benefi ciaries.


You are more likely to receive funding if your project meets the top priority in both criteria. These are, (a) innovative ways of getting non-active individuals active, and (b) family units, children and adults, undertaking physical activity together.


Three good examples of high priority applications are: n A project that establishes exercise classes where mums and kids exercise together.


n A walking project designed for adults and families.


n A project which enables adults and children to learn to swim together.


The Active Living Fund will not make a grant: n To individual athletes, sportsmen and women.


n For costs associated with salaries or posts.


n To profi t-making organisations. n Towards transport costs, as all projects should be accessible to ensure sustainability.


PRIMARY/SECONDARY The BBC Wildlife Fund


The BBC Wildlife Fund is a grant-giving charity set up in May 2007 to distribute money raised by donations to help support projects protecting the world’s endangered wildlife.


Award criteria The remit of the BBC Wildlife Fund is: n To support projects that are working to protect endangered wildlife and biodiversity – animals, plants and the wild places they need.


n To help protect and improve the natural habitats that wildlife and humans share.


Once the total amount raised from appeals in summer 2007 is known, the fund will work with a wide range of


wildlife charities to assess how and where the money can make the most difference.


The fund will welcome grant applications from groups working internationally and in the UK. However, it can not do so until the total amount raised during the Saving Planet Earth season is known.


BBC Wildlife fund Deadline


Likely to be sometime in December 2007


Amount of award As yet unknown


Contact details BBC Wildlife Fund PO Box 60905 London W12 7UU


web: www.bbc.co.uk/savingplanetearth/ aboutus/index.shtml


Fundraising for Schools September 2007 7


n To applications where the request does not directly support the activity being undertaken, for example the fund will consider a request for equipment, but not for maintenance on a building being used.


n To retrospective applications, where the activity has either taken place or has commenced at the time an application is considered by the Kelloggs panel.


Kelloggs Active Living Fund


Deadline Ongoing


Amount of award Up to £1,000


Contact details email: darren@communityfoundation.co.uk web: www.kelloggs.co.uk/company/ corporateresponsibility/activelivingfund


The Ford Britain Trust supports local projects based near its main manufacturing plants, Andrew M


The Ford Britain Trust was created by Trust Deed on 1 April 1975 for the advancement of education and other charitable purposes benefi cial to the community.


In making donations, the trustees pay particular attention to those organisations (including schools) that are located in and operating in areas where the Ford Motor Company Ltd has its present activities and a long standing association with local communities in the UK. Particular consideration is also given to organisations and projects that support the principles embodied in the company’s policies on diversity.


The trust makes donations to undertakings concerned with the advancement of education and other charitable purposes. Preference is given to registered charities (or similar) located and working in areas in close proximity to the company’s locations in the UK. These are Essex (East London), South Wales, Southampton, Daventry and Leamington Spa (although this latter plant is closing).


Special attention is given to projects concerned with education, environment, children, the disabled, youth activities, and projects that will provide clear benefi ts to local communities. Applications coming from, or relating to, projects based outside these geographical areas are generally not considered.


National charities are assisted rarely, and then only when the purpose of their application has specifi c benefi t to communities located in close proximity to Ford locations. An example of one support that could also be relevant to schools is contained in the sidebox.


Applications for sponsorship, individuals, research, overseas projects, travel, religious or political projects are not eligible.


Grants made by the trust are usually: n One-off donations for a specifi c capital project.


n Funding for part of a project, typically items of furniture and equipment.


Applications are rarely considered for:


n Core funding and / or salaries. n Revenue expenses. n Major building projects.


Grants usually range between £100 and £5,000. Applications for funding for new Ford vehicles are considered when two- thirds of the purchase price is available from other sources. Any subsequent grant is unlikely to exceed £2,000, but in the case of registered charities, it may also be possible to arrange a reduction from the recommended retail price. Grants are not available for the purchase of second-hand vehicles.


The trustees meet in June and November each year. Applications are considered in order of receipt and therefore it often takes several months, for an application to be processed. Although each application is considered carefully, the number of applications the trust receives far outstrip its resources and, because of this, the number of applicants that it is able to h limited. The decision of the trustees is


The following guidelines should be considered when making an appli to the trust:


n Applications should be by let is no application form) to th below, setting forth the pur project; whom it is intende and how; why the project and necessary (how were done before?); how it is the project will be carri it will start and fi nish; of the project; how mu raised so far towards


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Fundraising for Schools


December 2007 Issue 84 Your practical guide to raising money


On the agenda: Creating chances


arning about the arts is part of a good education. We want all children to e the chance to develop their creativity,’ said culture secretary James Purnell.


urse there is absolutely nothing l in this. It is well-known that and the arts are important for ping social skills, self-confi dence, y, empathy, imagination... and the d go on ad infi nitum.


ignifi cant is the huge cash Government has committed to cation (page 2). This funding local authorities to provide music tuition. It will also be


s brand new instruments, – a programme led by Youth ned to get primary-aged ing regularly.


he largest sum of money nt has put towards music atives. It is a positive ers are listening to t the arts are fi rmly at


ssue etition


s


g s


the top of the educational agenda, where they belong.


Carrying on with this theme, pages 4, 6 and 7 contain information on funding for arts education. On pages 10 and 11, Shari Baker looks at some ways schools can access quality provision from creative industries. She examines what support there is – in terms of both funding and training – to help schools increase creativity within their curriculum.


In keeping with this, Fundraising for Schools is offering readers the chance to win a Literacy Software pack, designed to develop creativity and encourage story- telling skills. Turn to page 3 for more details...


2


3 4 5


6-9


10-11 12-13


14-15 16


Also in this issue... In the latest instalment of his series on Gift Aid, Barry Gower takes a detailed look at how it can be gained successfully from charity auctions (pages 14-15). He fl ags up some of the pitfalls to be avoided and considers a few of the best items to put up for sale.


And finally... As the winter term gradually draws to a close, many schools will be holding Christmas fairs. If your school has a fundraising event planned, please write and tell us about it: amy.g@ markallengroup.com. Therewill b for themost inte id


All about Fundraising for Schools


Fundraising for Schools is a monthly (11 issues per year) newsletter which keeps the school fundraiser up-to-date with possible extra sources for funding. A subscription will save hours of research at the library and on the phone.


Subscription details: One year £49.50. Two years £89.00. Please complete and return the subscription formon page 16 or call freephone 0800 137 201 and ask for the subscriptions department.


Fundraising for Schools is the leading source of information on grants. It will help you apply for money to the appropriate places at the appropriate times. You can be sure that the content will be: n Relevant to schools. n Useful for schools. n Benefi cial to schools.


Fundraising for Schools is written for the head or deputy with delegated responsibility for fundraising, school development offi cers and interested chairs of governors and PTAs.


Whether your school is seeking funding for a specifi c project or just raising funds to aid its development then Fundraising for Schools is for you.


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