Capture Arts - Policy - Artists In Schools

Supposing that you are a member of a Capture team working in schools or on a project, you are likely to be working on a job that is already funded and commissioned (probably by a local authority) and that a member of the team is co-ordinating and managing the project. Your role is to enable both teacher and pupils to realise the aims of the project.

We will have made a contract with the school. The school may have made a financial contribution, identified a co-ordinator within the school, made a commitment to releasing staff for training and guaranteed maximum participation from pupils, parents, governors and other staff wherever appropriate.

In the case of a public performance/event outside of school, the need for parental support and permission and enlistment of other voluntary help, eg stewarding, transport, etc, is essential.

• Before you reach the classroom, the co-ordinator will have explained and established the aims with the head teacher and the class teacher and, quite often, the school's art co-ordinator/head of department.
• The aims of the project might relate to the school's development plan or have implications for future plans if this is a pilot project.
• It is a key aim of the company to promote the creative arts in education.
• Often the work is of a cross-curricular nature. Apart from art and design and performing arts, it has relevance to design/technology, humanities (historical, social and cultural issues), maths (shape and size) and sciences (natural history, environmental studies and physics - the properties of light for instance).
• Often the work will enrich the whole school during and after the project and you must be aware that there will be a transfer of skills to other staff even though you may never come into contact with them.
• In Service Training (InSeT) is an opportunity to share skills with teachers and to give the chance for feedback with particular application to classroom practice.
• InSeT also gives teachers an opportunity to explore their own creativity and share their skills with the artist thus building confidence and a good working partnership.
• Often our education projects are a link with the local and wider community. It is Capture's express aim to further encourage these links. Schools benefit from arts projects on many levels not least in raising a positive public profile. The process and production of the outcome/event must reach the highest standard possible.

• You are a representative of Capture on a project and therefore you are expected to present the work of Capture and the aims of the project in a positive way.
• Capture expects artists to present themselves in an appropriate and pleasant manner. This applies to behaviour, language, timekeeping and dress. We expect all artists to uphold our equal opportunities policy. Violent acts, racist, sexist and abusive behaviour will not be tolerated and the artist will be asked to leave immediately.
• Under the Children's Act, it is becoming general practice for local authorities to run police checks on workers who have contact with children and young people. Capture is obliged to give names and addresses when asked for them.
• Teachers will usually ask you what you wish to be addressed as. It is usually accepted that artists use their first names and have a less formal relationship with the pupils.
• We are not supply teachers and should not be left alone in the classroom with the pupils.
• Generally, artists work in pairs and do not work with more than 10 children each at a time unless there are tow or more teachers also participating and the space allows for a larger number.
• Never work without a teacher present. Teachers are ultimately responsible for the discipline of pupils. However, a healthy relationship between artists and staff will mean that the artist will feel able to discipline a child if and when it becomes necessary.

• Be aware of, and adhere to, the school security systems - visitor badges, signing in, etc.
• Make sure you are known to the teacher, head teacher, schoolkeeper and other relevant staff at least at the first session. A telephone call to introduce yourself before your first session is advisable even if someone else is co-ordinating. Calls to schools are best made during lunch hours: 1200 - 1300 hrs or just after school, 15.30 hrs.
• Sort our parking facilities before you travel to the venue.
• The company carries public liability insurance and employer's liability. Be aware of health and safety policies. Report accidents to the teacher and to the company. Keep a record of such incidents.
• The rest of the school should have been made aware of the demands on its resources - teaching space, time, facilities, materials and instruments.
• Check with the teacher that there are small handtools available - pliers, staples, scissors etc. as appropriate to the workshop. Otherwise, make sure that company handtools are available: check this with project directors, as there may be more than one project using them at a time. Make sure company tools are returned.
• Arts activities will inevitably create some mess. Practical measures should be taken to minimise problems that too much mess can create. Ensure that floors, furnishings and tables are covered in plastic if they are going to be damaged by glue, paint, etc. The children must be covered (including sleeves) with an old shirt or plastic apron and hair kept out of the way when gluing and painting.
• Allow for setting up time prior to the session (at least half an hour before) and enough time during the session for clearing up. The children should participate in this.
• If there are any changes to plans and schedules, schools require reasonable notice.
• Working in pairs and small groups (up to 4) engenders co-operative working and team building skills and is practical. One pair of hands is not enough when constructing on a large scale.

• Participants need a rigid structure in order to give them the freedom to explore creativity. Give them clear 'markers' within which they can make choices. Often we are creating a large effect with many components that needs artistic co-ordination. For example, agree a colour scheme and stick to it, agree a theme but allow for a wide interpretation, choose a common shape. Artistic content will be made in agreement with other artists possibly working in other venues towards a large-scale event.

• Remember the practical application of construction and creative techniques:
• Make sure that you can get large-scale constructions out of the door, down staircases, etc.
• Work created for outdoors needs to be waterproof and stable.

2.1 Have you agreed suitable dates and times?
2.2 Do you have instructions on how to get to the venue(s)?
2.3 Do you have contact names and numbers?
2.4 Are you aware of the resources available, budget, materials, etc?
2.5 Have you been given adequate preparation and evaluation time?
2.6 Have you been informed of the Age group and ability range of the pupils you are working with?
2.7 Are you aware of the amount of teaching and storage space available?
2.8 Are you aware of the company's health and safety policy?
2.9 Are you aware of the school's health and safety policy?
2.10 How will arrangements for unexpected absence of artist or teacher be dealt with?
2.11 Has the school policy regarding disciplinary procedures been explained?
2.12 Have the issues regarding appropriate language, dress and behaviour in schools, and those
regarding accurate timekeeping been discussed?

3.1 Have the children been prepared for your visit?
3.2 Have the pupils been asked to bring in suitable clothing?
3.3 Have the teacher and pupils been shown your own/company's work.
3.4 Have you explained the process step by step to the pupils?
3.5 Have you demonstrated the techniques?
3.6 Have you shown examples/prototypes if necessary?
3.7 Are the techniques and materials used accessible and appropriate to the age of the pupils?
3.8 Have you explored and agreed the theme/colour scheme/shapes/content with the pupils or will you as the project develops?
3.9 Have you allowed for pupils' personal response and individual interpretation of the theme, etc?

4.1 Do you give an informal response and recommendation to the pupils during and at the end of each session?
4.2 Have the pupils been given the opportunity to make an appropriate critical response to the work of the artist or other pupils?
4.3 Are you able to review each session with the teacher and other artists?
4.4 Are you prepared to be sufficiently flexible to be able to adapt to changed circumstances during the project?
4.5 Have you documented the process with photographs and reportage where necessary?
4.6 Is the project continuing to fulfil its aims?
4.7 Is the curriculum being covered?
4.8 How have the pupils and teachers been affected by the project?
4.9 Has your own work been affected?
4.10 What issues for the future have arisen?