Internship and Audience Development and Fundraising – Every Child a Musician (ECaM), London Borough of Newham

January 28th, 2013

 

TABLE OF CONTENTS

 

1. OVERVIEW Pages 3-5

  1. EVALUATION OF THE WORK               Pages 5-8
  2. EVALUATION OF THE MANAGEMENT AND ADMINISTRATION OF THE ORGANISATION AND A VIEW ON HOW ENTREPRENEURIAL IT IS   Pages 8-11
  1. CONTEXT                                                       Pages 11-21
  2. RECOMMENDATIONS FOR THE FUTURE                                    Pages 21-23

 

Appendices 

Appendix 1 Pages 24-28

Appendix 4 Pages 29-32

 

Bibliography Pages 32-35 

 

 

1.  OVERVIEW

Every Child a Musician (ECaM) is currently the largest free musical tuition programme in the UK, and was founded 2010.  It is situated within the range of services provided by Newham Borough Council in London, and one of mayor Sir Robin Wales’s 22 promises to Newham, as part of his continually evolving, annual contract with that borough. Sir Robin has been elected as Mayor of Newham since 2002  This list of 22 covers commitment to a range of improved services to  the London Borough of Newham (LBN), addressing crime control and prevention, quality education, better housing and capacity building within the community.  The programme ECaM is currently number 8 in the mayor’s list of promises, after ‘Investing in Our Schools’ and before ‘Every Child a Sportsperson’. (Newham London, 2012)  It aims to provide free instruments and tutors to all Year 5 and 6 pupils in LBN, which topped the Deprivation Index 2010, its population composed of one of the highest and most diverse range of ethnic minorities in the UK.  (LB Tower Hamlets, 2011) (Phillips, 2011)  Two-hundred different languages are spoken in Newham, and there is no dominating sub-culture.  Social cohesion is high on the agenda for Sir Robin Wales.  ECaM is a multi-functional and high performing agency in this regard. Its umbrella of services reaches all 62 primary schools within the borough, providing musical instruction to 1,500 pupils, via 130 tutors.

 

Physical Structure

ECaM is located in two rows of desks on the first of the four floors of London Borough of Newham’s council building in far East London, Newham Dockside.  It is across the canal from City Airport, deeply entrenched within the Olympic complex.  LBN relocated there, from Grade II listed, Edwardian-era East Ham Town Hall, upon its completion in 2009.  The council occupies four levels within this building, including an in-house bulk printing facility and subsidised cafeteria sprawl, hosting a Costa franchise, which occupies most of the ground floor.  (Appendix 1.1-4)

ECaM’s two rows of desks are couched between the ‘Improvement & Performance’ service section and ‘Temporary Leisure Staff’ on the first floor.  The colour theme is aqua.  All members of ECaM log into a desk within this section, none of them claims a permanent location.  In fact any team member may log into any computer within these two rows of desks, even the Programme Manager (PM). There are no separate offices for the team, though there are offices and quiet spaces to use within LBN, if booked far enough in advance.  Interior design denotes a flat, open plan Feng Shui.  Because ECaM is constantly drafting interns and offering student apprenticeships, there are frequent shortages of desks.  There is always an additional staff member or two, using a laptop within a quiet space for a desk, in one of the stations between the desks and hallway.  The stations provide offices for planned and informal meetings and various other work spaces, as if to accommodate ad hoc situations, in the changing face of the council’s service structure.  The main occupants on the top floor fourth level are the Communications team, Mayor’s Office and Chief Executive.  Their offices are luxurious with higher ceilings, more sophisticated kitchen facilities and vast swathes of lounging space.

 

ECaM is a small team, composed of eleven members, six of whom are Schools Liaison Officers (SLO) for the 62 schools covered by the programme, but who also serve as sub-managers to certain kinds of workstream; including Events Management, Musical Instrument Procurement, Tutor Training and Development, Evaluation, Finance and Schools Rollout.  SLOs alternate between leading on projects and assisting with others.  It is headed by 3 managers – Programme Manager (who reports to the Mayor of Newham), Operations Manager and Quality and Strategy Manager – and supported by 2 youth trainees.  During my placement ECaM was finishing it’s second academic year of the programme, had received its first round of Evaluation from the Institute of Education (IoE) and was negotiating a large number of requests from schools, dignitaries and other organisations for ECaM pupils to play at different events leading up to London 2012 Olympics.

 

2.  EVALUATION OF THE WORK 

 

Events Management

ECaM tutelage is geared toward public performance, as part of a process which helps music pupils to achieve a high standard of musicianship.  As a result ECaM incentivises each school within LBN to organise its own performing events, offering £250-350 per school term for such schools events.  The programme is called ‘Let’s Get the Party Started’ (LGTPS), an open platform which allows great organisational creativity within Newham’s community.    ‘Children Playing Together’ (CPT) attempts to combine young musicians at varying levels of musicianship, as well as from different schools who’ve never played together before, to perform ensemble musical pieces before the public.  There are also events which involve ECaM tutors (who are usually working musicians themselves).  At the time of my appointment there were many different celebrations of London 2012 Olympics within the borough, where ECaM students were invited to perform, such as the London Town Show and Under the Stars.  ECaM student performances had become a favoured mascot for Newham’s regeneration.  Invitations for ECaM students to perform at various high status events by the mayor Sir Robin Wales, local councillors and other dignitaries were overwhelming.  One CPT event, involving workshop performances with the Grimethorpe Colliery Band and pupils from ECaM as well as Barnsley, transformed to chaos; as more than 200 people arrived for the event, which was planned for 30 children altogether.  The three SLOs and QSM had to find last minute accommodation and refreshments for more than 200 people.    Perhaps ECaM was unprepared for its own success, but it would need to sharpen communications with prescribed structures to anticipate various aspects of operation, or subcontract to an events management organisation.

 

Instrument Procurement

ECaM pupils may choose as instruments guitar, keyboard, violin, flute, clarinet, trumpet or trombone.  The SLO managing Instrument Procurement sourced instruments, competitive in price and value, and then coordinated distribution to schools.  He would need to connect with all the different Music/Arts coordinators for each of the 62 schools, to organise instrument choices for ECaM pupils.  He often recruited one of the other ECaM SLOs to help him ensure direct placement with representatives, showing up onsite at each school.  This Instrument Procurement sub-manager is an expert musician and thoroughly knowledgeable about musical instrument quality and especially durability.  He used a range of media to source best value for money, including his own musical network contacts, music blogs, directories and even participates in online auctions (in the videoconferencing facility, 3rd floor).  There are very few complications with the instrument procurement aspect of ECaM.

 

Programme Evaluation

In July 2011 ECaM agreed in principle with contracting Graham Welch of the IoE to design and product manage a sustainable evaluation framework for ECaM, and to train LBN officers in continuing the process of evaluation for ECaM’s duration.  He would ensure ECaM benchmark the evaluation appropriately, due to perceived lack in acumen of its staff.  Fieldwork started September 2011, distributing Likert questionnaires to ECaM pupils, tutors, parents and head teachers.  It would provide a series of reports and analysis until August 2012. However, ECaM had underestimated the costs of the evaluation.  The IoE agreed to contribute approximately £22,000 to meet its complete cost.  There were severe delays from difficulties in receiving completed questionnaires from parents.  A dispute between ECaM and the IoE over intellectual property rights meant the contract had not been signed.  The IoE perceived itself as ECaM’s partner in this endeavour.  ECaM considered the exercise a contract arrangement.  At some point in negotiations IoE demanded back its investment and ECaM consented, but the contract was signed and settled during the my internship, the terms sworn to confidentiality.  ECaM and thus the mayor of Newham retained IP of Evaluation results.  Team members speculated that Newham’s mayor wanted control over use of the results and timing of their release, for the sake of his next re-election campaign.  Results were overwhelmingly positive, mirroring those of the IoE’s Sing Up ‘initiative (Welch et al, 2011), especially in determining the quality and impact of ECaM music lessons.  They also provided direction for ECaM’s next few strategies: including bespoke Special Educational Needs / Disabilities (SEN/D) provision, and a more substantial ECaM presence at LBN schools, as supported by responses from ECaM tutors and LBN head teachers.

 

Tutor Training and Development 

There are four grades of ECaM tutor:  Beginner, Advanced, Expert and Lead Tutor.  Lead Tutors establish their own style and criteria.  They are trained according to the Musical Education Plan (MEP), Level Three Diploma for Music Educators Course, accredited by ‘Rockschool Diploma for Music Practitioners’, offered at Access to Music (ATM)’s flagship school, the British Association of New Music (BANM), Bromley-by-Bow London. (Tavares, 2012).  Lead Tutors, overseen by the QSM, audition, coach and manage other tutors.  Tiered payment depends on what grade.  Tutor placements are not highly structured, nor specific to particular schools.  The first round of IoE Evaluation established a power struggle between them and LBN schools administrations, and many head teachers complained about a tutor truancy problem.  ECaM would respond with a local tutor training programme.  Tutors expressed they felt peripatetic exclusion, and resentment from teachers that ECaM was disrupting schoolwork.  They also suggested formal training for SEN/D pupils.

 

LBN Building

LBN has relocated from an Edwardian Grade II listed building (East Ham Town Hall) to a bright, colourful, open plan building at Newham dockside.  There is a theme park timbre to its design, somewhat like a cruise ship.  Each level is assigned a different, bright colour.  The interior tips its hat to regeneration and implies a brilliant new start for Newham.  It also emphasises the importance of Communications at LBN, situated on the top floor with high ceilings and superior facilities.  Adjacent to and couched between the mayor’s office and the chief executive, LBN Communications offices could provide the setting for a Soho advertising agency.

 

3.  EVALUATION OF THE MANAGEMENT AND ADMINISTRATION OF THE ORGANISATION AND A VIEW ON HOW ENTREPRENEURIAL IT IS

 

In the framework of Charles Handy’s book Gods of Management (2009), ECaM’s management culture is primarily an adhocratic, federalist construct: an Athenian island inhabited by Dionysii, surrounded by Apollo, ruled over by Zeus.  In other words, the Newham mayor’s office is a political club, delegating steady state operations to its temple, London Borough of Newham council, which houses the mayor’s princess of ‘boxing’ clever projects:  Every Child a Musician (ECaM).

 

ECaM is composed of independent craftspeople and professionals, who rely on their own personal networks to complete adhocratic tasks and believe themselves to be managed by consent (Handy, 2009).  In fact, the day to day work culture of ECaM would indicate a kinder, gentler Apollo, whereby the system seems to work around Dionysian ‘new professionalism’ (Handy, 2009, pg 207).  Every ECaM office team member regularly works from home and outside the office, organising training, supervising distribution of instruments, coordinating promotional events, conducting surveys.  Their functions are catalysed by the Programme Manager – Athena – and championed by the Mayor – Zeus (Brafman and Beckstrom, 2008).  For Dionysii on the ground – ECaM tutors – Athenian ECaM management acts as referee between them and Apollo.  The wider public system of LBN primary schools is also a federalist construct, whereby Dionysian teachers perform work meted out by the Apollonian school system which is mediated by Athenian head teachers.  ECaM tutors are professional musicians, aware of their acumen and the demand inspired, believing themselves worthy of that market value.  It is intolerable to them that their status could be penalised for rearranging timetables to better prioritise toward mutual success.  The local tutor training programme is an Athenian task committee operation resulting from ECaM’s performance evaluation and an attempt to ease the situation; but it also nods to Apollo’s ruthless role culture, hinting that these independents could be replaced.  Athena has not conceded to the true demands of ECaM’s Dionysian tutors, who wish to create their own networks of adhocracy, to find supply tutors from within and streamline structure toward mutual convenience.  Apollo cries out in the name of public accountability and control, and Dionysus cooly whispers back something about Apollo’s obsolescence, but Athena has the most to gain, by enabling the bridging and bonding of capital, as supreme connector in this game (Shirky, 2008).  In the current knowledge to collaborative economy, the most celebrated and lucrative choice provides a platform rather than directly participates (Tapscott and Williams, 2008).  However, determining net value of such group forming is difficult since the freedom it would accommodate, intrinsically valuable before and afterwards, is incomparable (Shirky, 2008)

ECaM’s SEN/D provision may prove the perfect vehicle for such peer production.   ECaM has lowered the hurdle for people finding other people within their musical community (Shirky, 2008) by assembling this group of 130 tutors.  The workplace has replaced neighbourhood in creating community, and peer-to-peer communities are formed mostly to create/achieve something of direct value to them (Tapscott and Williams, 2008, pg 259).  Such developments might foster a self imposed quality control for ECaM tutors, ensuring all lessons are covered when opportunities arise which are more lucrative to them.  The delicate nature of and teamwork required from the new criteria, established by ECaM’s SEN/D rollout, may give way to an intensive, self-organising, growing network, which could greatly benefit ECaM, especially if a new crop of trained up local tutors joins them.  At the moment, ECaM Management’s answer to this over-iterated request by ECaM tutors is a flat refusal, which begs questions about whether ECaM management is truly entrepreneurial.  ECaM is halting the interdependent flow of self organisation which defines and enhances Federalism (Handy, 2009, pg 212).

 

Although ECaM aspires toward Athenian values, it is only able to do so in a climate of investment toward Olympian standard.  The golden apples are in finite supply as the London 2012 Olympics draws to an end.  ECaM is trying to firm up its adhocracy, and will probably succumb to more Apollonian values of role culture and systemic operation, as investment recedes, and LBN must face austerity cuts like all other boroughs.  Some aspects of quick paced Athenian task culture are quite risky and do seem to depend heavily on structure provided by Apollonian role culture.  The unpredictability of events management, promotion for the mayor, is perceived as needing Apollonian systemic structure, without which Dionysian new professionals are dismantled to exhausted reactionaries.  Vigilance in communications is enabled by systemic process, and “a good decision is like a good conversation” (de Geus, cited by Howkins, pg. 139).  However the very same quality could be augmented by an intensive, self organising, peer-to-peer network.

 

Another questionable aspect regarding ECaM’s validity as an ‘entrepreneurial’ organisation, is its dispute over intellectual property rights regarding the IoE’s evaluation of ECaM.  Not only is it strange that this particular IP should, arguably, be rewarded to satisfy the political ambitions of the mayor, since both parties contributed at least equitable values of combined human and financial capital; but it is equally illogical that ECaM should create a vacuum for itself by hoarding this knowledge – the impact of musical education on the well being and learning of children.  ECaM could be bypassed by other musical networks which share, adapt and update such knowledge toward creation of value (Tapscott and Williams, 2008), especially since this knowledge has precedent in the Sing Up findings (Welch et al, 2011), which are publicly available.  At the moment ECaM is amassing ‘precompetitive knowledge’ (Tapscott and Williams, 2008, pg 163) which has yet to yield a capital return.  As in any science of discovery, a common map is crucial to its success.  As John Howkins summed up his guide to creative industry, The Creative Economy, more than a decade ago:  “A society that stifles or misuses its creative resources, and signs up to the wrong property contract cannot prosper” (2002, pg 213).  Though I believe ECaM aspires to be entrepreneurial, has made entrepreneurial choices and is managed a powerfully entrepreneurial, Athenian Programme Manager, its hands are tied by structure, since it must pay tribute to the excesses of Zeus’s club culture and Apollo’s systemic control.

4.  CONTEXT

 

ECaM is the third priority of the directorate for Children and Young People’s Services (CYPS) in Newham, after the mayor’s priorities and implementation of its Corporate Plan.  In 2010, CYPS pledged to work with the Children’s Trust Board and Partners toward a revised CYPS plan by 2012 (Appendix 4.1).  Partnership is a significant challenge to CYPS.  ECaM is last on CYPS’s list on its ‘Programmes and Projects” chart (Appendix 4.2) (pg7, CYPS); yet, ECaM is priority number two on the Mayor’s Promises list in 2010.  Since 2010, ECaM has been LBN’s pet project – for both CYPS and LBN’s Mayor.   CYPS’s Directorate Plan pledges to develop commissioning arrangements into a work plan for the new Children’s Trust Board.  More specifically CYPS is committed to actively involving children, up to 11 years old, and young people between the ages of 11-19, as representatives for their respective age groups within new partnerships and delivery arrangements (pg 9, CYPS).  1.5 on the Mayor’s Priorities list in 2010 is £250 million investment into secondary schools to ensure they are fit for the 21st Century (pg 12, CYPS).  Ensuring that the needs of SEN children are met with immediate effect and increasing parental engagement in this capacity are also stated as key objectives in CYPS’s Directorate Plan. (pg 6, CYPS). ECaM has had great success, since it’s inception, Autumn 2010, and is planning on extending its template to secondary education as well as rolling out a more organised provision for pupils with special educational needs / disabilities (SEN/D). Recent studies into music and the neuro-sciences suggest that musicality is tangential to various regions of the brain (Kleber et al, 2007, cited in Welch et al, 2010), implying “other-than-musical benefits” of musical activity, including physical and psychological health and well-being (Clift et al., Kreutz et al., Welch, cited in Welch et al, 2010), social skill development and social inclusion and cognitive development (Schaug et al., cited in Welch et al. 2010).  It follows that music is becoming a more important part of contemporary educational policy in several of the world’s governments, including Brazil, Italy and the UK (Welch et al., 2010).  To this purpose, the UK’s ‘Music Manifesto’, a campaign to improve musical education, was formulated by the Department of Culture, Media and Sport (DCMS) and the former Department for Education and Skills (DfES) in July 2004. (Department for Education).  In its second report ‘Making Every Child’s Music Matter’, October 2006, the UK’s Music Manifesto made recommendation that singing be provided for all primary aged children by 2012.  (DCMS and DfES).  Soon the National Singing Programme 2007-2011 was made possible by funding for the development of a cultural programme (2008-2012), linked to London 2012 Olympic Games (‘Education Guardian’ 2006, cited in Welch and Himonides et al. 2010).  In 2007, Alan Johnson, Secretary of State for DfES, and then culture minister David Lammy announced the launch of an additional £10 million toward the National Singing Programme and conducted a tendering process, in which the DCMS and DfES appointed a consortium including Youth Music, The Sage Gateshead, Faber Music and advertising agency Abbot Mead Vickers to take the lead in its provision. (DfES Press Notice, 16th January 2007, cited in Welch et al., 2011)

Every Child a Musician is a variation on the theme of Sing Up – applying its principles of music instruction toward vocal performance opportunities, and reframing the process toward playing musical instruments as ensemble for musical performance opportunities. Sing Up was originally an initiative from the Chorister Outreach Programme (COP) as part of the UK’s National Singing Programme in 2008.  Its absolute original design hails from Venezuela:  the El Sistema Project.  Sing Up aimed to provide weekly singing experience for all children in all kinds of educational settings in the UK and was funded by the Department of Children, Schools and Families (DCSF).  The Choir Schools Association (CSA) enabled staff and choristers from cathedral settings all over England to work with teachers/singing leaders in primary school settings.  In either 1 or 2 academic terms, or for an entire academic year, COP staff worked with teachers and vocal leaders to develop a wide repertoire of songs to be performed in a concert such as within a Cathedral setting.  In 2009/2010 the IoE was appointed by the government to evaluate Sing Up.  Its overwhelming response was positive.  In addition to better musicianship, Sing Up was cited as improving pupils’ sense of identity, community and belonging; as well as behavioural and emotional literacy, more focused concentration, improved posture and listening skills, better memory, taking responsibility, applied understanding of equality through harmony and bullying dismantled (especially in the Singing Playgrounds component of Sing Up).  There was evidence of a ‘halo effect’, whereby participating teachers, their colleagues, the whole school culture and communities of the pupils’ families also benefitted.   Sing Up also yielded results for pupils with educational needs / disabilities:  such a child learned to spell his own name, via a song created with his teacher in class. (Welch et al., 2010).

 

WORKING CONTEXT AND EXPERIENCE GAINED

At ECaM my three workstream foci were SEN/D rollout, Events Management and IoE Evaluation.  A ‘capability tracker’ would be the central document to account for various tasks completed and obstacles experienced.  I would meet with the QSM and SLO bi-weekly to discuss its contents.

 

SEN / D

Communication Skills

ECaM would work closely with Deborah Dickinson (DD), Social Inclusion Officer, and Rosie Dickens (RD), Advisory Teacher/Learning Support for Early Intervention, Inclusion and Progression, at Tunmarsh Centre, which is one of only three schools for pupils with SEN/D in LBN.  LBN takes great pride in its fully integrated schools, and it is very difficult to get ‘statemented‘ there.  ECaM aspires to develop a musical version of Sign Along bespoke for ECaM pupils with SEN/D.  The PM also wanted to enlist Tunmarsh’s support in making it mandatory for all ECaM tutors to commit to Planning and Report Time (PRT) as part of Continuing Professional Development (CPD) within the framework of SEN/D rollout.   The PM arranged a meeting with DD, the QSM, a SLO and myself at Tunmarsh to firm up project needs and create policy on 27th March. (See Appendix 4.3 for Action Notes)

 

I’d distributed meeting notes on 3rd April, but the SLO didn’t approve them until mid-May, with the QSM’s assistance, so we could start work on a draft policy for ECaM’s SEN/D provision.  To quality check, I’d consulted the Equal Opportunities (EO) policy for Graeae Theatre Company in London, whose members have disabilities.  I’d reframed our policy guidelines according to Graeae’s criteria and sent to her for approval.  After a few days of no response I set up a meeting with the QSM, who helped me to strategise for my meeting with RD and DD at the Tunmarsh Centre.  By the 19th and 21st June I finally met with DD and RD respectively.   The malaise at ECaM is pervasive, even in urgent circumstances.

 

I had begun to understand that my modus operandus there was to push required action, ignored by colleagues, to a higher level of management and keep all informed.  However, I’d noticed that, before we’d had a chance to consult DD at Tunmarsh, ST had incorporated my Graeae conjugated SEN/D guidelines into the SEN/D guidelines for the Lead Tutors‘ CPD training she’d coordinated for 30th May, without confirming their validity with me.  It was difficult to determine whether this was another indicator of malaise dressed up as haphazard adhocracy or simple disrespect for the QSM and myself.  Alternatively this particular circumstance might be interpreted as demonstrating the ruthless efficiency of networks – albeit dependent upon telepathy, and arguably espionage, as part of a job description.

 

Organisation skills

The miscommunications from the SLO gave me opportunity to stretch out and take the lead in creating policy for ECaM pupils with SEN/D, which is an entirely new area for me.  Graeae Theatre Company’s EO Policy was recommended as a reference document, by an arts practitioner friend from my network, useful in that it addresses disability issues by people with disabilities, and so authentically reveals what is encountered by those people and the range of ways they might realistically need to be facilitated.  When the SLO and I met with DD at Tunmarsh 19 June, it was very impressive how her vast experience enabled her to distill this range of facilitation and assign to the duties of one person within reach of an ECaM tutor:  the Teacher’s Assistant (TA).  (Meeting notes, Appendix 4.4)

 

Though SLO took the lead on this meeting, I was able to brief DD with the finer points and we felt confident that we’d covered many eventualities by distilling process to two channels:  1. Thorough communication and involvement with the TA and 2.  Commitment to creating and updating an individual musical education plan (IMEP), which is a document shared by SENCO, TA, OT(s) and the ECaM tutor.

 

Events Management – Marketing

In order to avoid the mishaps which contributed to the near catastrophe of ECaM’s ‘Children Playing Together’ event with the Grimethorpe Colliery Band (Section 2 ‘Evaluation of the Work’) the QSM decided that I would co-create a proforma Events Checklist with her and another SLO to better strategise organising ECaM events. The document is designed to cover a range of events, so must be quite thorough in anticipating differing circumstances to be organised, yet generic enough to be understood in simple terms.   To standardise a system for scoring applications to ECaM’s ‘Let’s Get the Party Started’ (LGTPS) / ‘Playing Together‘ events she assigned me the duty of assembling an assessment form, which she approved.  I also kept a log of LGTPS applications in various stages of approval and completion, which would prove useful in marketing the ECaM programme, so LBN’s Communications department could claim a specified number of ECaM pupils had performed before specified audience numbers in a given academic year.  As the summer term of the academic year approached, the QSM was concerned there were not enough schools participating in LGTPS, and wanted to encourage them to apply before the end of the summer term.  The QSM and I agreed the school liaison officers could encourage their respective schools via email.  I drafted a friendly, upbeat offer, repeating the terms of LGTPS and distributed amongst SLOs to send to their schools’ various Music/Arts coordinators.  There was a power struggle, and the schools rollout sub-manager protested on behalf of the other SLOs.  The matter was pushed up to the Operations Manager and the PM, who sided with the QSM, and enlisted the aid of the two Youth Trainees to smooth out workload.  Ultimately all that was required was for each SLO to copy and paste my email template into about 10 personalised emails for respective Music/Arts Coordinators.  Were they too stretched to manage this task, or just resentful they did not think of it first?  Perhaps they were flexing their ‘Right to Disagree’ (Handy, 2009, pg 220)

 

The QSM liked the email I drafted and suggest I tailor it towards an advertisement in the LBN Council’s newsletter.  One of the other SLO’s sent an email advising us of the deadline for the next such newsletter, so I drafted my alteration and sent it to the QSM, and an SLO for approval, before submission.  The due date fell on a day when I was not in the office, and I did not receive confirmation from the QSM and SLO on my last day at the office before the deadline, so re-sent to them suggesting they submit the adjusted version directly to Communications, before a reiterated due date.  When I was next in the office, they’d not sent a final version to Communications.  I chased the QSM, who quickly sent over an edited version, which I forwarded to Communications, copying the QSM into the correspondence.  The advertisement appeared in the newsletter, because the QSM was of sufficient status to push it forward.  ECaM seemed to have moved from multi-gon to pyramid, in succumbing to malaise which made it subject to LBN’s hierarchy. (Handy, 2009, pg 218).

 

Local Tutor Training – Management Skills

ECaM tutors are professional and semi-professional musicians who consider their ECaM employment supplemental to their performing/recording careers.  Thus, their timetables also adhere to the precarity which is typical in the lives of musicians, including last minute cancellations cum opportunities which often provide much greater incentive for them than ECaM’s rates could afford.  As mentioned earlier, ECaM’s evaluation reported that head teachers had complained about a truancy problem with ECaM tutors.

ECaM’s Schools Rollout sub-manager was struggling with guidelines to penalise last minute cancellations, how far in advance it was acceptable to find a replacement and  when too many cancellations meant removal from ECaM’s register.  There were team meetings dominated by debates, in which musicians and non-musicians within the team would square off, according to their ideas of ethics and aesthetics on this matter.  Non-musicians believed that only illness or family emergency could excuse a last minute cancellation, musicians believed that ECaM would lose the most talented tutors if it was not sensitive to the uncertainty of their given profession.  One mature, more experienced SLO suggested local tutor training, to provide tutors who are more geographically convenient to schools and a pool of supply teachers available for back up. Recruiting musicians locally would enhance ECaM because tutors and pupils would hail from the same community.  ‘Sing Up’ results had cited cultural differences between tutor and pupil as a substantial obstacle to effective musical training (Welch et al, 2010).  It had also discouraged disruptions to the momentum of learning, which would certainly be an adverse effect of recurring tutor truancy.  The PM was very quick to assign that SLO as head of a committee to brainstorm and implement ways of local musicians recruitment for ECaM tutors.  It was a very swift form of organisational adhocracy.  ECaM were able to include the first round of local tutors in the CPD training for SEN/D and child safeguarding on the 30th May, adding two additional dates to accommodate the locals.  Not only did it help with tutor truancy but also delivered employment opportunity, skill development and social cohesion for the residents of Newham.

 

Management – Self & Others

After my first month at ECaM the PM invited me for an informal coffee at the ‘canteen’ asking me for a synopsis of my workstream thus far.  She was not impressed to hear about the organisational slack that was delaying progress with ECaM’s SEN/D provision.  She commended me for being polite and patient but asked me to reframe these qualities in the context of ‘justice to myself’, and the return on my efforts according to what I wanted to achieve.  She emphasised the importance of my benefitting from my talent and accomplishment.  I certainly understood how I was in the presence of Athena (Handy, 2009), when she assigned me a task to help my colleagues at ECaM understand and thus appreciate me better.  At our next team meeting I was to give a ten minute presentation to my colleagues about my assigned workstreams at ECaM and how they related to my business plan from Goldsmiths:  ‘United Autists’.  She even gave me source materials to R&D success of the Sing Up programme, qualifying it as the template for ECaM.

 

The PM was impressed with my presentation but not necessarily my colleagues.  She’d noted that I’d made mention of the Sing Up programme during my presentation and assigned another task:  present a ten minute synopsis of its findings at a team meeting, one month away.  In an interim team meeting she’d quickly arranged for and proposed to the team an offsite team building exercise scheduled for the end of June, to include training in Time/Stress Management, Effective Communication/Presentations and Investigative Interviews.  When I presented Sing Up’s findings for the team meeting at the beginning of June, my colleagues commended me on helping them to understand ECaM better, and the PM asked me to submit a signed and dated copy of my presentation’s notes, to include in official ECaM files.  I was very impressed at how the PM converted my cowardice masquerading as tolerance and organisational slack into task oriented motivation for myself and colleagues.

 

Summary

One of the biggest learning curves of my internship was in discovering how this organisation operates outside its immediate environs, whether the great complex of LBN or through networks of individual team members.  The SEN/D provision for ECaM is very much enabled by the expertise and wizened vision of LBN’s Social Inclusion officer.  Provision of instruments for ECaM pupils owes much to the Instruments SLO’s network of musicians.  There are many informal yet functional connections between different ECaM departments.  Completion of the IoE Evaluation’s parent questionnaires was enabled by LBN volunteers distributing and collecting at ECaM events.  Event management and promotion was helped along by the Schools Rollout division.

 

However the most energy was expended upon dealing with organisational ‘slack‘ (Handy, 2009).  Luckily the management are aware of it and deal with it in creative ways, careful to avoid blame.  Slack’s pace was in marked contrast to the swift manoeuvres of Athenian management.

 

It was most fascinating to perceive how information was shared, shaped and distilled to meet actual need – especially in the machinations of ECaM’s SEN/D formation.  It was very exciting to have the opportunity to help shape its policy.  I was intrigued at IP issues surrounding the interpretation of ECaM evaluation results.  I’d understood theoretically how competition delayed operations and ratcheted costs, when not sharing IP with those organisations that have as much to gain, but had never seen it in practice until my internship with ECaM.

 

5.  RECOMMENDATIONS FOR THE FUTURE 

1.  The Programme Manager organises a task force of Lead Tutors, Head Teachers (or select members of the PESG), Tunmarsh Inclusion Officer and Early Intervention Officer and selected SENCOs, overseen by the QSM to coordinate rollout of ECaM’s SEN/D provision. Tasks would include:

  • involving TAs in crafting Individual Musical Education Plans (IMEP), to inform bespoke programmes for each ECaM pupil with difficulties and continually update their respective SENCOs
  • allowing Lead Tutors to hand pick a tutors’ supply team, perhaps appointing buddy systems, with whom they would form action plans for continually briefing according to IMEP updates
  • curating a Sign Along practice, and exploring avenues of disseminating beyond the supply buddy network into the greater ECaM tutor community
  • developing accreditation schemes for volunteer family members of pupils with SEN/D as TAs to pupils with difficulties, and working toward professionalising an ECaM Parent-Tutor Association (P-TA)
  • incentivising the Institute of Education (IoE) to advise on and conduct an evaluation of the provision

The Programme Manager would guide tutors to create their own networks of adhocracy and streamline structure toward mutual convenience. It would better prepare tutors to ensure all lessons are covered, when opportunities arise which are more lucrative to them.  The cross-sectoral connections could inspire an intensive, self-organising, growing network; relieving ECaM of its housekeeping duties, so as to innovate towards expansion into other more creative ventures.

 

  1. Partner with the IoE and the London Knowledge Lab to conduct an Evaluation of ECaM’s SEN/D provision, but also to design and build digital based media to evaluate ECaM for SEN/D as it evolves.  The IoE has collaborated with half of all UK universities on funded educational research, and it is expanding into partnerships with other major educational research institutions globally.  Pool resources and contacts, treat participating LBN students and the aforementioned P-TA as co-creators.  When the time is right involve industry players – Apple, Nintendo, Microsoft, Sony –  and initiate cycles of competition and hybridization (Tapscott and Williams, 2008, pg 176). (London Knowledge Lab, 2012 ).

 

  1. Digitise a bespoke system of musical Sign Along for ECaM students with SEN/D, co-created by IoE, London Knowledge Lab and ECaM’s P-TA.

 

  1. The IoE Evaluation results revealed an expressed desire by head teachers for a more substantial ECaM presence onsite at schools.  The CYPS has committed itself to involving children 11-19 years old,  as representatives for their respective age groups within new partnerships and delivery arrangements. ECaM could set up Music in Residence Rooms (MRR) at select LBN schools in response.  The MRR could be established as a base for pupils and tutors to co-organise events, create their own musical production companies or set up an ECaM marching band to play at sporting and other outdoor events.  The latter could prove particularly useful as a connector between Year Six and Year Seven students’ education, jubilantly marching them from primary to secondary school with the support of their community.  ECaM would involve Room 13 (2012), Vital Regeneration (2012) or the Art of Regeneration project (2012).

 

ECaM could become a more entrepreneurial programme, but also more intrapreneurial (Handy, 2009, pg 208); by cultivating an infrastructure for collaboration, which looks to internal leadership for change, and whereby all participants co-create the value (Tapscott and Williams, 2008).  They provide a seedbed for creative innovation and trust.  Aligning ECaM’s emerging structure with digital technology and private firms, whilst sharing IP ownership with participants, creates a symbiosis to alchemise ideas; by improving access to such ideas for society at large.

 

APPENDICES

APPENDIX 1

Appendix 1.1

Appendix 1.2

Sectors on ECaM’s side of the building on the first floor are:Language Shop, Strategic Commissioning and Intelligence Service, Technical Research Energy Unit

The offices on the first are floor separated by stairs, toilets and a lift.  Across from ECaM’s office on the first floor reside the following services: Property and Development, Regeneration Projects, Building Control, Planning, Forward Planning, Land Charges Planning, IT , Geospatial, Library of Development Control, Library of Management

Appendix 1.3

The second floor’s colour theme is hot pink.  The LBN space, here, is horseshoe shaped, also separated by toilets, lift sand stairs, but with a rounded line of service stations, for offices, cupboards, etc, bridging two sections of the council offices. (Appendix 1.5).  In the centre of the horseshoe is a boardroom which could hold about 100 people, with an extensive array of video conferencing facility.  On the second floor one finds the following sectors housed: ICT Support System and Drop-in, Business Support Group, Council Tax and Housing Benefit, BSG – Access Card Room, Audit, Corporate Accountancy, Cash Control, Risk Management and Insurance, Financial Systems, Council Tax and Housing Benefit

Appendix 1.4

Offices on the third floor are shaped like a giant oval, the colour theme is lime green and the sectors within are: Building Surveyors, Architects, Quantity Surveyors, Streetworks, Business Support Group, Estate Regeneration and Major Works, Private Finance Initiative (PFI), Community Safety, Publicity, Food Safety, Trading Standards, Pollution Control, Resilience and Emergency Management, Housing Partnerships, Electronic Business Applications Support (EBAS), Food and Safety, Healthworks, Trading, Standards Team, Asbestos Team, Health and Safety, Licensing, Pollution Team, Resilience and Management Emergency.

The fourth floor’s theme is lemon yellow and it is also oval shaped like the third floor.  It’s main occupants are the Communications team, Mayor’s Office and Chief Executive.  One might surmise that these offices belong in Soho, London:  the ceilings are higher, the kitchen facilities more sophisticated and there are vast swathes of lounging space.  These offices contain: Communications, New Media Team, 2012 Unit, Councillors, Mayor’s Office, Chief Executive, Executive Directors, Support Team

Appendix 1.4 cont.

APPENDIX 4

Appendix 4.1 – CYPS Directorate Plan

APPENDIX 4

Appendix 4.2

Programmes & Projects

Programme Formal Approval Project Start & End Date Project Milestones Exception Reporting History Project Manager
ECaM Cabinet March 2010 –

Autumn 2010

Procurement Process – March 2010

 

Launch in Autumn schoolterm

  Andrew Mutter

 

APPENDIX 4

Appendix 4.3 – Action Points – Deborah Dickinson, Tunmarsh 27th March 2012

At this meeting on 27th March, the action points were:

  • ECaM and an appointed Lead Tutor would meet with RD, in the near future, about commissioning Musical Sign Along for children with SEN/D.
  • ECaM to draft a SEN/D policy statement for SEN schools/departments to disclose information on each pupil’s SEN/D profile, as required by ‘Equalities‘ legislation within parameters for ‘Data Protection‘.  ECaM’s SEN/D  tutor programme would align with each pupil’s Individual Education Plan (IEP) and Behavioural Improvement Plan (BIP).  The policy would standardise and make mandatory PRT with tutors, ECaM, and Tunmarsh specialists for two hours each term.
  •   QSM would find information in Council contracts to enforce these policy mandates.
  • The policy statement would be edited and finally approved by DD and the Primary Education Steering Group (PESG) before being properly distributed to LBN schools.
  • The SLO would consult umbrella organisations, such as the National Autistic Society (NAS) and the Federation of Music Services (FMS), regarding the specialties of certain kinds of music in providing therapeutic benefits – ie woodwind and brass instruments for pupils with speech and language difficulties.
  • On 30th May, lead tutors would assemble and finalise a resource pack for Instruments Groups, including suggestions for SEN/D requirements.

DD informed ECaM her post, Social Inclusion Officer, would be dissolved at the end of the school term, so was keen to find solutions that would not further stretch Tunmarsh’s budget.  She was also wanted tutors to record results of how musical activity impacts what kinds of learning in each pupil’s IEP, for SENCO feedback.

 

APPENDIX 4

Appendix 4.4 – Meeting notes with Deborah Dickinson and the SLO – 19 June 2012

DD determined that a TA would help the tutor to fully establish a musical education plan, sensitive to pupil needs, and would also enable the tutor to follow strategies of the respective school.  She encouraged ECaM tutors to involve an ECaM pupil’s TA in lessons, because

  • a TA might support a pupil with SEN/D to engage in extra music practice if there are issues with practice at home.
  • Conversely ECaM music practice becomes incentive toward completing other school work, so may also facilitate the TA in enhancing the pupil’s overall education.

 

DD gave us a specific, play-by-play account of how and why certain pupils are statemented.  She also laid out requirements for ECaM tutors:

  • knowing where to access school support in the form of SEN/D Coordinators (SENCO), and being fully briefed on each student
  • securing access to an Occupational Therapist (OT) programme, where applicable
  • having immediate access to ‘Accident and Assault‘ forms.  She suggested co-creating and  regularly updating an individual musical education plan (IMEP) for each pupil, not only to advise the SENCO but also to prepare any supply tutors for ECaM lessons.

 

BIBLIOGRAPHY

Art of Regeneration, 2009, Unlocking Potential, Sustaining Communities, Transforming Lies through partnership… and the arts., [online] Available at <  http://www.artofregeneration.org/images/AOR2009.pdf >  [Accessed 2 July 2012]

 

Brafman, O., Beckstrom, R., The Starfish and the Spider:  The Unstoppable Power of Leaderless Organizations, Penguin Group, USA, 2008

 

Children and Young People, 2010, CYP’s Services Directorate Plan, London Borough of Newham, [Accessed 20 April 2012)

 

DCMS, DfES, 2006 Making Every Child’s Music Matter [pdf] Available at < https://www.education.gov.uk/publications/eOrderingDownload/Music_Manifesto_Report2.pdf >  [Accessed 15 April 2012]

 

Handy, C., Gods of Management:  The Changing Work of Organisations, Souvenir Press, Great Britain, 2009

 

Howkins, J., The Creative Economy:  How People Make Money from Ideas, Penguin Group, Great Britain, 2002

 

London Knowledge Lab, 2012, LKL Research Themes [online] Available at < http://www.lkl.ac.uk/cms/index.php?option=com_content&task=blogcategory&id=41&Itemid=109 > [Accessed 2 July 2012]

 

The Music Manifesto, 2004. (Department for Education) (Ref DfESD21-0604-72) London: DCMS, DfES

 

Newham London, 2012. Mayor’s Promises 2012-2013. [online] London Borough of Newham.  Available at: < http://www.newham.gov.uk/NR/rdonlyres/6FCBC12F-CA57-41B5-9B88-438748A8D0DB/0/MayorsContract201213.pdf > [Accessed 24 April 2012]

 

Phillips, D., 2011.  Newham cracks down on Dickensian housing conditions, The Economist [online]  Available at < http://www.economist.com/node/21542164 > [Accessed 2 May 2012]

 

Room 13, 2012.  An International Community of Creatives [online] Available at < http://room13international.org > [Accessed 2 July 2012]

 

Shirky, C., Here Comes Everybody:  The Power of Organizing without Organizations, Penguin Group, USA, 2008.

 

Tapscott, D., Williams, A.D., Wikinomics:  How Mass Collaboration Changes Everything, Atlantic Books, Great Britain, 2008

 

Tavares, S., 2012 Urban Development, Newham Academy – Stratford Circus February 2012,  Every Child a Musician [ECaM file note, accessed 14 April 2012]

 

Tower Hamlets, 2011.  Indices of Deprivation 2010 [online] London Borough of Tower Hamlets.  Available at:  < Indices of Deprivation 2010 – Research Briefing 2011/03 Notes > [Accessed 15 April 2012]

 

Vital Regenerations, 2012, Creating Opportunities, Changing Lives [online] Available at < http://vitalregeneration.org > [Accessed 2 July 2012]

 

Welch, G., Himonides, E., Saunders, J., Papageorgi, L., ‘Researching the Impact of the National Singing Programme “Sing Up”, in England:  Main Findings from the First Three Years (2007-2010) – Children’s Singing, Development, Self-Concept and Sense of Social Inclusion’, Institute of Education, International Music Education Research Centre, Great Britain, 2010

 

Welch, G., Himonides, E., Saunders, J., Papageorgi, L., Rinta, T., Preti, C., Stewart, C., Lani, J., Vraka, M., Hill, J. –  ‘Researching the First Year of the National Singing Programme in England:  An Intial Impact Evaluation of Children’s Singing Behaviours and Singer Creativity’, Institute of Education, Great Britain, 2011

 

 

 

 

 


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