Almost one in five young people in Scotland wake up in the morning wondering if their country needs them. In a country that has in many ways never felt so optimistic and excited about its future, this should be a momentous wakeup call, a call-to-arms for the whole community. The line comes from the opening page of Sir Ian Wood’s report on how employers and education might manage a genuine culture of partnership, and answering this claim was the palpable bone of contention during an evening last week of discussion, talks and food, with some of Scotland’s education leaders and management, at SELMAS.
In Scotland, based on my experience and the stories told at Thursday night’s event, I’d suggest that there are three fatal blows to closing an achievement gap, most of them rooted in how education and business choose to play with each other. I'm going to walk through them over a few blog posts to come:
1. For some schools and businesses there is a lack of interest in partnering - the “what’s in it for me” just isn’t visible.
2. For other schools and businesses, there is a lack of knowledge on how to partner and what to partner on - “the what’s in it for me” is maybe agreed upon in principle, the enthusiasm is there, but what the “it” might be is the challenge.
If the Scottish National Party holds the balance of power in Westminster, what would it mean for English education policy?
In 48 hours the United Kingdom goes to the polls for its Westminster Parliamentary Election, choosing a new Government no matter the result. The Scottish National Party (SNP) has been at the centre of debates this past week as they shape up to sweep most seats, if not all of them, in Scotland, and in turn will become a potential and fascinating power broker for issues affecting the rest of the UK, and the whole of the UK.
This is what they call a "forward" post. I wrote it yesterday, when I had wifi and time, and am posting under today's date. I have a (reasonable) expectation that I will be alive tomorrow, and that this will not, therefore, freak out anyone unduly.
In the early days of blogging with my school students, back in 2002/3, I'd use forward posting on the foreign trips we made because mobile access to blogging software on my Nokia was so expensive. At the time I gauged our expectations of living tomorrow high, but was young enough and foolish enough to forget that, should our coach have gone off piste 88 mums and dads, notwithstanding the rest of our families, would have been rather taken aback to see us "happily arrived in Caen", and not in the mortuary.
Expectations are funny things. We all like to believe we have different expectations, but some of our expectations are just hardwired, like the pentatonic scale, into our beings. This year, the case was proven when I felt obliged, finally, to remove my kid from her local school and attempt to fund a better future in a local private school. The principle reason for this move, against many education bones in my body, was that state education in my neck of the woods feels like it has lost its sense of expectation for every kid. Our expectations are realistic, perhaps, and the intention of supporting all children to achieve will help the lower 20% become a much more able lower 20%. But there will always be a bottom 20%. And if our efforts are in setting expectations for the middle, all kids will tend to aim a little below whatever we set them. In her new school, Catriona is flourishing, with expectations set at a stratospheric level and a hidden understanding that, really, the goal isn't to meet them at all. There's something else going on.
This ties into what we consider 'normal' expectations. My expectation of being alive tomorrow (today) when this is posted are high. I place trust in my pilots, my plane and my fellow passengers, not to do us any harm.
My expectations of living another day along with my students back in 2002 were equally high, but not entirely shared by nervously grinning colleagues when they knew what I had prepped for future-posted blog posts.
My expectations for my kids' own learning are stratospheric. At 4 and 7 years old, I expect them to be able to do anything that they want, as long as... and there is the tough bit. What are the conditions for expectations that mean some schools succeed in pitching them perfectly, and others, on a systemic level, fail completely?
This is not a pushy parent, or a doting dad post. This is all about helping my kids learn earlier than I did what Steve Jobs put thus:
"When you grow up you tend to get told that the world is the way that it is, and your life is just to live your life inside the world, try not to bash into the walls too much, try to have a nice family life, have fun, save a little money...
"That's a very limited life. Life can be much broader once you discover one simple fact:
"Everything around you that you call life was made up by people that were no smarter than you. And you can change it, you can influence it, you can build things that other people can use.
"Once you discover that, you'll never be the same again."
I can't stand it when people say they want to "think out of the box". I try my best to hide the pain on my face, muscles enter involuntary spasm, and I smile back knowing that the mission ahead is going to be a delicate one. It was adman legendaire Gerry Farrell, last Friday, who helped me understand why my buttocks clench in disappointment on hearing this. You see: it's the boxes we live with that forceus to be creative in the first place.
As Gerry explained in a talk in Edinburgh, ads people tend to have the same boxes for every creative project:
the budget is always going to be $5000, not $50,000;
the timescale will always be next week, not next month;
the product is the one the client has to sell, not the one the adman wishes he could sell for them.
Well, most of my work isn't with admen. It's with other creative folk and above all teachers. Educators. The ones who work with kids. They would dream of a budget of $5000 (well, anything, really). That marking is due tomorrow, not next week. The product I have is the class of thirty-three weans in front of me at 9am tomorrow, and the day after, and we only have a few chances, if that, to do our best by them. If this particular 'campaign' falls down, the cost to us all is a heavy one.
But Gerry's point - that the boxes we live by make us creative - still stands. The key is working out what the important boxes are, so that we can work well within them. Here's my non-exhaustive list of creative constraints that teachers can revel in, in order to create invigorating learning experiences for and with their young charges:
The Curriculum A curriculum is not some burden that we must carry. It can be a creative stimulus. What happens if you take page 6 with page 27, and bash them together to come up with a new project idea? So, until this point in time "we've always taught Introduction to Algebra in the third week of October". Why? What makes people do that? Ask 'why' often enough (at least five times) and most afficionados of ithasalwaysbeendonethiswayitis will be stuck for words, and explanations. Now you can start to innovate with your curriculum. Why? Why not?
Assessments Teachers and students have no idea how lucky we are. The admen would sell their grannies if they had a success criteria, printed out in advance, and laminated, to tell them what a good campaign should look like. Students can do what admen would do with such criteria - go way beyond them to keep the client happy and get the next gig. The trick is making sure that the students really understand what's meant by all the twaddle that makes up the ridiculous adjectival foreplay of most formal success criteria.
The boss says no The boss doesn't know any better until you show them, until you sell them the benefits of your idea, not just the endless features of your idea. If the benefit is clearly better learning for your youngsters, any professional outfit would encourage you to get on with it and not bother the boss with silly questions and posturing anyway. If you're in doubt, try Steve Jobs' quote for size:
"Everything around you that you call life was made up by people that were no smarter than you. And you can change it, you can influence it, you can build things that other people can use. "Once you discover that, you'll never be the same again."
I don't have the time I do believe you have the same time as that person, over there, who's done the cool thing you want to do. And we've already established you're as smart as them. You have different priorities, that's all. Get them straight, and you'll never say "I don't have time for that" again. You will only be left saying "that's a great idea, but it's not for me, right now. I'm busy transforming the world with this idea over here."
Most of the best ideas come quickly as the result of a well-identified pain point. When the pain's at fever pitch, I've seen teams of six people create 226 ideas in 10 minutes flat. If I'd given them a day, instead of 10 minutes, we'd have come up with six ideas.
What other creative constraints are there? What other boxes should we stop thinking outside of, and start jumping into?
What S.T.A.R. moments do we create for our students to amplify the meaning of what we're doing?
Can we inform students later, and start with the why of engagement, inspiration and then empowering through information and the 'how'?
"Real world" does not mean we have to take every student on a foreign exchange visit. Real world is no longer the long-term relationships we had to build with partner schools in 2005. Real world can be short-term reaching out to someone, just for a lesson, for a moment, to gather an empathy for how others might think.
Real world can also be imaginative - video games as a stimulus for writing, or TED talks for stimulus in reading and listening (and speaking!).
This clip is a wonderful example of agile leadership. In the moment of panic, the conductor takes control, not with a baton or by stopping the orchestra, but with a beautiful embracing smile, and a jovial reassurance that she would manage.
Pires then takes the leadership role on, summoning her memory, her expertise, talent and prior learning, to tackle the new concerto she hadn't been prepared to play in the first place.
When we talk about failure in learning, it is vital that we talk about failure and what we learn from it. Failure for failure's sake is a tragedy. Pires had 'done her homework' and knew the other concerto (and probably many others) by heart, from experience. She had also done her homework in being able to 'make the show go on', regardless. But no doubt, she'll rehearse with the orchestra before future live performances, she'll make the time to have that preparatory phone call. Thankfully, her learning gives her the opportunity, post-performance, to try again and get it right.
Most learning in school, though, does not give time for failure to be learned from. Instead, even though half or more of the students in the classroom may have scope for improvement, teachers feel compelled to "move on", to "get on" to the next piece of content, or to get onto the test. Really, in an ideal world, the student makes the decision about when they are 'done', ready to move on to the next thing, and often they will know what that next thing is.
Where the teacher holds all the planning in their hands, though, when the teacher perceives curriculum and success criteria as teacher-destined documents, and not as documents to flesh out hand in hand with students, this 'ideal world' does not happen.
Make the first step of 2015 towards letting students really do their homework: give them the curricular and success criteria tools we've normally kept behind the teacher's desk, and work out with them how their projects, their ideas and their ambitions meet them halfway.
Eureka! moments rarely come from nowhere. Creativity and insight is hardly ever a lightning strike of insight, but more often a long hard slog. But it's been frustrating to hear people write off the hard slog required for this kind of creative insight, so I've been in search of some more backup for why this hard slog, what one might call the "trough of enlightenment", is necessary.
Much of the time that I'm not working with educators or creatives in industry is spent working out what their creative actions are, how they do them and why they do them that way. Some of this is achieved by observing their creative work, some of it by reading what others have noticed. Every Sunday, I wake up to the creative delights of the Brainpickings weekly email, and this week, a book review on Jerome Bruner has opened up some lovely creative insight on the effectiveness of creative surprise:
Predictive effectiveness is “the kind of surprise that yields high predictive value in its wake” — for instance, as in the most elegant formulae of mathematics and physics, which hold that whenever certain conditions are present, a specific outcome is guaranteed to be produced. (All of these 17 equations that changed the world are excellent examples.) Predictive effectiveness doesn’t always come through surprise — it’s often “the slow accretion of knowledge and urge.” And yet, Bruner argues, “the surprise may only come when we look back and see whence we have come” — the very thing Steve Jobs described in his autobiographical account of his own creative journey, in noting that “you can’t connect the dots looking forward; you can only connect them looking backwards.”
This, to me, is why my team's way of harnessing design thinking in the classroom provides a sturdy process through which the "slow accretion of knowledge and urge" is given space to develop, through a planned, deep, intense immersioninto a wide array of content and experiences. This content, in a schooling setting, is tied to curricular goals which are much broader than in a traditional classroom environment, in order that during a later period of synthesis there are, in fact, enough different dots to join together as we look backwards on our immersion, and create something knew. In this respect, I've always struggled with the idea that all of the design cycle is, in fact, a cycle. This first element - a deep immersion and synthesis - feels necessarily a linear, patient expanse of time where we do not feel the need to rush into ideation and making. We need to line up as many different areas of knowledge and concepts first, before being able to get that "surprise" connection between them and create something much more effective.
Bruner’s second form is formal effectiveness, the kind most frequently encountered in mathematics and logic, and occasionally music. He cites French polymath Henri Poincaré’s famous account of how creativity works, which holds that “sudden illumination” — the mythic Eureka! moment — is the unconscious combinatorial process that reveals “the unsuspected kinship between … facts, long known, but wrongly believed to be strangers to one another.”
The process of design thinking is often perceived as "impossible" to put into practice in certain subjects, namely mathematics, some science and music. I've always disagreed, believe that it is merely "hard". Why? Because, the combining concepts for a fresh creative outcome is the whole point of ideation and prototyping: we combine or oppose concepts, try them out and get feedback from our working (or from others) as to whether it works. However, it fits less succinctly into a six-week "design challenge" or project. These subject areas fall more likely into this "formal effectiveness", where sudden illumination, or sudden clicking of one's understanding, comes from a much longer exposure to the various concepts that make up the subject as a whole. This is why, perhaps, there is still a need to leave some slack for mathematics teachers to consider much of their work as a collection of loosely joined parts, taught and learned separately, in isolation, even, to some degree. But the challenge comes with the learner being given a specific time and space to look backwards, and make connections, combinations and oppositions for themselves, and explain any new insights that they feel they can make. In mathematics and music, for example, are the key points of design thinking knowing when we stand back and synthesise what we've learned, before we then hypothesise (ideate) and test our hypotheses (prototype)?
The third, Bruner notes, is the hardest to describe. Metaphorical effectiveness is also manifested by “connecting domains of experience that were before apart,” but what distinguishes it from the formal kind is that the mechanisms of connectedness come for the realm of art rather than science and logic — the kind of connectedness that Carl Jung described as “visionary,” in contrast to the merely psychological. (Metaphorical thinking, after all, is at the developmental root of human imagination.) While we are wired to make sense of the world via categorization, “metaphoric combination leaps beyond systematic placement, explores connections that before were unsuspected.”
The unifying mechanism for all three, however, remains what Einstein termed“combinatory play.” Bruner writes:
All of the forms of effective surprise grow out of a combinatorial activity — a placing of things in new perspectives.
Finally, Bruner touches on that much larger type of synthesis, which we can achieve when we are able to bring together domains that do not normally sit side by side. Traditional schooling sets students up to find this difficult - we learn our different domains in different spaces in high school and most of middle school. However, we do see this kind of "visionary connectedness" in young learners at Elementary and Early Years, where connections between one curricular area and another are made, when the curriculum itself doesn't make that link explicit. The educators we work with have been incredibly agile in recognising these moments, and taking advantage of them, to extend projects from a simple "let's make traditional food for homeless people in the park", to "understanding why our country's culture makes us want to do this in the first place", for example. What might high schools do to help students make these larger syntheses? Learning logs are a simple device, particularly if they can be searchable (as we discovered in our Evernote experiments in Rosendale Primary School) - students are able to search for key words related to today's topic, and unearth insights from learning months, or years, earlier, that they would have otherwise forgotten.
A priori, there's little wrong with the notion of "celebrating Australia" in history lessons (in the same way as we celebrate Scottish history here, and English / British history south of the border). And in my gander through the Australian history curriculum there is little partisan anything. But, in an age of multicutlural, multi-faith, multi-lingual classrooms this assertive Aussie, Aussie, Aussie approach might be considered a brash act of "partisan bias" by those students sat in classrooms where, often, the majority are made up of more than whatever "being Australian", or for that matter "being Scottish" or "being British" might entail in the politicians' eyes.
"Being Australian" or "Being British" is, today, hugely complex, and the challenge for Ministers using history as their key vehicle for reinforcing these notions is that history is filled with stories that, in 2014, might be considered partisan bias. Indeed, the way an English Education Minister understands the First World War is imbued with partisan bias that belittles the contribution by Australia's war dead. Thankfully, Pyne's advisors haven't worked that out yet.
It is only looking at the whole child, the whole curriculum, and not picking on a pet topic that feels 'safe' with its dates, "hard facts" and knowledge, that will actually help children learn what is really feels like to be a modern day Scot, Brit or Australian.
All of this seems of minor interest, really, when one considers the really concerning aspect of this Australia-English Education Minister policy, that of facial furniture. I wonder whether, in 2014, one of the "partisan baises" of being an Education Minister is that of 1970s National Health Service spectacles.
You can't just do ONE or TWO drafts of thinking; you have to make it double-digit drafting, prototyping thinking, gaining feedback and doing better next time.
What Ira Glass touches on is how, no matter how hard we try, we are never happy with our earlier pieces of work. As a result, there is only one tactic we can employ to guarantee that we get better: produce a LOT of work. The more we practice our craft, the better we get.
Simple powerful advice with which no-one in their right mind would disagree, and many who create for a living recognise, but one piece schools are quick to forget under the pressures of time, "the test" and any other number of excuses not to give young people the chance to prototype thinking many, many times:
"Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through." —Ira Glass
Other lessons in the documentary are also compelling, and tie in beautifully to NoTosh's Design Thinking School work. He stresses the importance of having a process through which to work, the building blocks of one's trade. This equates to the thinking skills and knowing when to use which ones where in the process within a school environment.
In a final clip, he concludes with the challenge facing all young people, too: how do you create something within a medium, without just copying what you've heard before? The answer: be yourself, talk like you, write and speak about what you know best. The more you are yourself, the better off you are. But how many kids are trying to be someone else, or play someone else's game at school, instead of finding their own way forward?
School leaders and innovators struggle to make the most of educators' and students' potential. My team at NoTosh cut the time and cost of making significant change in physical spaces, digital and curricular innovation programmes. We work long term to help make that change last, even as educators come and go.