Austin Harrison
18 Young People perform at BATS Theatre as part of one of the final Creatives in Schools Programs. (Faces Blurred for Privacy) Cred: Nina Hogg
Dear PM Luxon,
You’ve recently expressed that arts and music in schools could be “deferred” in favour of maths, and in response to letters asking you to reconsider that position- your office’s default response has been “if spending more time on numeracy and literacy means less time on the nice-to-haves, like music and arts, so be it.”. I’ve just completed, what will be, one of the last Creatives in Schools programs funded by the Ministry of Education. Here’s a summary of what we did and the outcomes of the project. I believe what we were able to do in just one term, had a marked and lasting impact on the education of the young people involved. I urge you to read it, consider it and think about the added value of arts in our education system.
You’ve recently expressed that arts and music in schools could be “deferred” in favour of maths, and in response to letters asking you to reconsider that position- your office’s default response has been “if spending more time on numeracy and literacy means less time on the nice-to-haves, like music and arts, so be it.”. I’ve just completed, what will be, one of the last Creatives in Schools programs funded by the Ministry of Education. Here’s a summary of what we did and the outcomes of the project. I believe what we were able to do in just one term, had a marked and lasting impact on the education of the young people involved. I urge you to read it, consider it and think about the added value of arts in our education system.
I spent the past 3 months teaching improv in four schools with about 100 students taking part in weekly workshops. In total I taught 51 workshops, with approximately 800 participant sessions (i.e. individual workshops attended). At the end of it, 18 young people took to the stage to a packed house of friends and whanau at BATS Theatre (pictured). It's been the single most rewarding project of my career to date, and the outcomes were extraordinary.
Along with fabulous support from our host schools, we created regular safe spaces for weirdos, clowns and "loud kids" to thrive, as well as a place for quieter students to gain confidence and embrace play. Every school had at least a couple of young people who were super shy, but wanted to give drama and improv a go in a way where they wouldn't be marked, tested or judged- and they found as much a home in this program as the most devout drama nerds.
Of the 18 kids pictured below, most of them had not performed on a professional stage before. 3 of them had never done any form of drama or performing arts before this program. Several parents approached me after the showcase with immense gratitude (which was so so lovely) but the interactions that stood out were the parents who were shocked their child had ever agreed to be in a show. "We never thought he would have the confidence to do anything like this. To get that confidence in just one term...we can't believe it" a parent said to me. That's what arts in schools is all about. Rangatahi who struggle to find their voice in the classroom, can blossom when offered an alternative space to express themselves. Without these spaces, we risk losing the unique and inspiring individuality of those kids from the system altogether- or they simply never find their voice.
The value and impact of putting improv in these schools is clear, because the students are driving it forward and continuing to run their own programs, now that my contract has ended. I'm especially delighted that the two High Schools involved (the other two were intermediates), are carrying on with regular improv, with the senior students leading junior students and learning to facilitate this space themselves. They've caught the improv bug and my one term program will have a lasting impact beyond my time which is everything I could have dreamed of. These kids will gain leadership and facilitation skills along the way.
Beyond the students, the program also sought to upskill teachers in applying some professional theatre practice into their classrooms. My style is a highly participatory one. I prioritise the kids learning by doing, and by making mistakes joyfully. Less than 10% of any workshop I lead involves me standing in front of kids talking at them. The teachers who participated commented that it had reminded them, there are more dynamic ways to facilitate.
At one school I even had a wee crew of student teachers who were on placement that attended many of the workshops. One of them remarked that they had “never seen such a lively and active style of teaching. It’s so much cooler than anything I’ve seen at teachers’ college”. This style isn’t going to be applicable to every classroom, or every subject- but being able to liven up a classroom with an extra set of tools I believe is invaluable for any teacher.
This program also kept kids at school. I won’t give away any details, but I know for a fact that I had High School students who had skipped their morning classes but turned up for improv at lunchtime. Once they were at school, connected with their mates, they stuck around for their afternoon classes without fail.
The government claims that “addressing inequity in education” is one of its “top priorities”, along with increasing attendance. If you want to keep young people at school, they must have a reason to turn up. And for some kids, maths just isn’t going to be that reason.
Let’s not forget too, that creative industries are a genuine career pathway- creative industries contributed $15 billion to the economy last year. One of the benefits of having a professional artist in schools was that students were directly exposed to the idea that their passion could become a career and not just a hobby. I was also able to offer advice to students who were starting to think about University/further education and talk to them about the difference between the different theatre and acting tertiary options from an industry perspective. I hold a Master of Fine Arts (theatre) from Victoria University, and it struck me that when I shared this with a group of senior students they were shocked and one remarked “you can do a Masters in theatre??”.
Access to professional artists in schools affirms and invigorates the next generation of professional creators who make work, jobs and communities.
It is devastating that the Creatives in Schools (CiS) program has been cut, and projects like these will not be able to continue. The truth of the matter is that when young people and their whanau approached me asking whether it would happen again next year, I had to stand in front of them and say “I’m sorry, but the funding is gone and I won’t be able to afford to do it voluntarily on this scale. So there might be something, but only what I can manage in my spare time”. You and your education Minister don’t have to stand there and justify that reality to kids who have just found their passion. It’s heartbreaking.
Not only that, but it’s excellent value for money. The CiS scheme was funding ~175 projects in schools all over the country at a cost of $13 million, an absolute drop in the bucket of the education budget. My project came at a cost of less than $17 per attended session. Compare this to CNZ funded projects which regularly fund performing arts at a rate of $100+ per attendee (The NZ Symphony Orchestra clocks in at around $167 per attendee) and it looks a pretty convincing cost:benefit. These programs are lean and efficient with maximum output and a priority given to projects with lasting impact.
CiS also had a huge benefit to the creative sector. These projects provided a solid 5-figure contract for working artists to shape their year around (it has enabled me to quit my part-time job and do my art full-time after the recession had sent me looking for supplementary income). The cost of the CiS is barely 0.1% the cost of your tax cuts which the average artist garnered $2.15/week from.
The cancelling of Creatives in Schools will see students, teachers and artists all miss out. Students who don’t fit the mould, will have one less safe space and one less reason to come to school. Teachers will miss out on the ability to learn from and develop their practice by working alongside professional facilitators who aren’t caught in the repetition of the school day. Artists will miss out on rewarding projects which provide us with steady contracts and a chance to connect with young people in a meaningful and fulfilling way.
I implore you, Prime Minister, to reconsider your stance on the role of arts in education and the defunding of the CiS scheme. If you have (though i doubt it) taken the time to read this, then thank you. If you have any questions or would like to chat, email [email protected]. Our inbox is always open.
If you’re an artist, a parent, a young person or a teacher reading this, then thank you. I am not alone in advocating for reinstatement of the scheme. Dr Kerryn Palmer is running a petition. The decision of this government for arts to take a “back seat” hurts all of us, but we are not hurting alone. Art will survive, because there is nothing more human than to tell stories and create beauty. Young people understand this better than most. Our government could learn a lot from them.