100 SCHOOLS
says: ‘Te 7% of students who go to independent schools will not be enough to provide all the musicians, all the audiences, all the admin staff and all the donors of the future.’ Green intends this new school to alleviate that problem, at least locally: ‘Te CBSO’s commitment is absolute and long term. Te point here is that music is plumbed into the DNA of the school from the start. It’s in the name, so we can plan with a confidence, which is not usually possible in our learning work.’
He is also hoping that the impact of this music-centric curriculum in the school will prove, beyond doubt, how important a strong music and creative culture is in building happy, healthy individuals. He says: ‘Music teaches some really important skills – self- discipline, empathy, teamwork. It may not be the case that every child that comes here ends up working and playing in the students’ orchestra, but music is such a powerful vehicle for supporting children with their wider
education and being successful in their lives beyond the school.’
Te importance of creative learning, of inspiring and encouraging curiosity and critical thinking is so obvious in the minds of all those featured here. It inspired the renowned Ghanaian artist Ibrahim Mahama – who has exhibited all over the world, including several times at the Venice Biennale – to invest the profits from his own sales back into building spaces for culture and creative
The gallery formed relationships with the five schools on its doorstep, developed free resources for teachers and learners and the wider community, and quickly expanded these to schools and audiences across the region and now across the globe, pivoting from the artists and exhibitions occurring in the regional locations.
Each exhibition is accompanied by additional lectures, workshops, interactive seminars and screenings. But there are also strands addressing specific communities or institutions such as the Education Labs – teaching programmes devised for local schools and universities run at the galleries in Menorca, Somerset and Los Angeles, where they have dedicated education facilities on site. Where those are lacking, in the more urban galleries such as London and New York, they form partnerships with local schools, universities and institutions to deliver something tailored to their needs. What makes the H&W workshop programme stand out is the access to their artists. Activities for Somerset’s weekly Arthaus group, comprising local 15-to 19-year-olds, have included action painting with M artin Creed or studio visits to meet Matthew Day Jackson and Bharti Kher, or collaborative film-making with John Wood and Paul Harrison. The New York gallery recently teamed up with a local charity working with young adults in foster care, inviting them to meet artist Mark Bradford, attend workshops and then give talks within the gallery during his exhibition. The programmes are devised to encourage youngsters to see the potential in a whole host of creative careers, rather than try and turn them into artists. Budding architects are also encouraged through various schemes, including a UK summer school programme, run in conjunction with Niall Hobhouse of Drawing Matters, inviting sixth-form candidates for a free residential summer school in Somerset. Last year, there were 50 candidates on fully paid places, with support coming from UK architecture practices as well as Hauser & Wirth.
This image Education Labs are teaching programmes devised for local schools and universities run at the galleries in Menorca, Somerset and Los Angeles
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