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In this paper, the author considers the contribution of creativity to pastoral care in education. Since its advent in English schools in the early 1970s, pastoral care has placed the affective realm and individual enrichment centre stage in both its curriculum aims and teaching approaches. These principles have, however, had much to contend with over the past 50 years; from the obtrusive effects of state intervention in schools, to the challenges confronting young people growing up in increasingly complex societies. For many teachers and practitioners, engaging young people in creative pursuits has come to be regarded as a necessary counterpoint to increasingly performative school cultures and an essential means to enabling vibrant forms of positive self-expression. The power of creative activities has received new impetus as a pastoral concern in light of two national trends. The first as creative arts provision in the curriculum in English state secondary schools declines as a consequence of Government qualification reforms, and second as an increasing number of young people are referred to Alternative Educational Provision with mental health issues. As a consequence, many pastoral educators have turned or, indeed, returned to creativity and creative practices as a primary means of supporting and enriching the lives of young people, particularly for those who now struggle in contemporary school environments. In light of these developments and drawing on research and practice in the field of creativity and pastoral care, this paper aims to cast further light on creativity in pastoral education. [ABSTRACT FROM AUTHOR]

Recent worldwide trends in curriculum policy have re-emphasised the role of teachers in school-based curriculum development. Scotland’s Curriculum for Excellence is typical of these trends, stressing that teachers are agents of change. This paper draws upon empirical data to explore school-based curriculum development in response to Curriculum for Excellence. We focus on two case studies – secondary schools within a single Scottish local education authority. In the paper we argue that the nature and extent of innovation in schools is dependent upon teachers being able to make sense of often complex and confusing curriculum policy, including the articulation of a clear vision about what such policy means for education within each school. [ABSTRACT FROM PUBLISHER]

This paper describes an exploratory trial conducted with 14–15 year-old students in English state schools who were studying business start-ups as part of a course in “Business Studies”. The intervention uses a “Story Grammar” strategy to improve students’ reasoning by increasing the frequency and complexity of their use of “connectives” such as “when”, “if” and “because”. The analysis reports positive effects of the intervention on students’ understanding as judged by the use of a standard examination style mark scheme, and the number and complexity of connectives used by students in their extended writing. By reporting effects on immediate target variables we are able to examine the causation with precision. Effects are reported through standardt-tests and effect size. We also discuss the design of the experiment and comment on its practicability as a model for investigating effects of classroom interventions. [ABSTRACT FROM PUBLISHER]

In the United Kingdom, curricular music education has seen two main waves of development and is in the process of shaping a third. Ideas from the second wave have maintained theoretical dominance to the present day, despite the concerns expressed by some about their practical implementation. This paper suggests that problems with the implementation of second-wave ideas have been caused by hermeneutic complexities inherent to the word ‘music’ as well as by an ongoing ideological debate about the proper purpose of music education. It is proposed here that by approaching musical learning in the emergent third wave through the sub-discipline of ‘music theatre’ – and by conceiving that term in its broadest sense – this interpretive difficulty can be avoided whilst many practical advantages may be reaped. The notion of music theatre as a key component of music education's third wave is explored alongside its theoretical prerequisites, and a number of questions are identified for further consideration. [ABSTRACT FROM PUBLISHER]