How in-school artists helped boost creativity


Preface 前言
Keen to embed the creative philosophies of Sir Ken Robinson, this school brought an art residency into the school, with intriguing lessons and learning outcomes.

清迈普林国际学校热衷于把肯·罗宾逊爵士(Sir Ken Robinson)的创造力哲学融入到教学中去,为学生提供有趣的课程和收获良好的学习成果。

Author: Alex Soulsby 作者:亚历山大 索尔斯比

As was the case for many in education, Sir Ken Robinson’s death last year hit me hard. 


His message regarding the importance of creativity in schools, and of recognising and cultivating individual talents, still resonates with those who remain committed to the grassroots revolution he inspired. 


Yet finding practical, effective ways to engender creativity in schools can be as challenging as it is rewarding.


However, after several years of working at an international school doing just this, I believe there are ways we can achieve it – and in such a way as to have a meaningful impact on the teaching and learning that takes place.


The models we have used are based on ideas I had explored while working in the UK arts and cultural sector as an education and creative projects manager, but I think any school could learn from. 


Education and the arts in harmony  教育与艺术的和谐统一

To start, a question: how often have you noticed during a trip to a gallery, museum or other arts and culture centre that they have a dedicated educational outreach function?


The needs of schools are key considerations when a theatre, museum or gallery produces or presents new work, and it’s not uncommon for the educational and community offerings to be as carefully considered as the artistic one. 


This realisation, alongside Sir Ken’s philosophy concerning creativity, were key to my decision to accept a role at Prem Tinsulanonda International School and Traidhos Three-Generation Community for Learning with the remit to develop “education for creativity” across the school, curriculum and wider community.


As I began the role, I asked myself what would happen if we replicated the approach that I had witnessed in the UK. Was there a way to embed a professional arts organisation into the centre of a school?


This question prompted more: what tangible benefits and what particular learning might happen if you merge the ideas and approaches of artists, creative practitioners and creative thinkers, with those of teachers, educational leaders and young people? 



To find answers to these questions, a creativity committee was formed and, from this, a bold idea was conceived.


We would create our own developmental learning laboratory that sits at the centre of the school, integrating the practice of participants into teaching, learning and community engagement. We named it Artist Residency Thailand.

The concept could easily have been rejected had I not been able to point towards data collected while working with organisations such as Artswork and campaigns I had conceived that had been fronted by Sir Ken. 


如果我不能指明我的设想 ,例如与类似Artswork的活动组织合作时收集的数据,没有与肯爵士的理念一致的话,那么我的这个概念很可能会被否定。

With backing from the top, we could begin. The overarching idea was to create a vehicle with which to drive the centralising of creativity across the school and wider organisation. To support the costs involved, we established a partnership with ISTA (The International Schools Theatre Association) and accredited the programme through Res Artis, a worldwide network of arts residencies. 


What started with a handful of applications in the first year grew to nearly 400 in its fifth. Pre-Covid, we spent every April and May discussing approaches and ideas with practitioners, department heads, programme leaders and the leadership team, and then welcomed selected participants for eight residencies throughout each following academic year.  

从第一年申请的人数寥寥无几,到第五年增长到近400人。在新冠疫情之前,我们每年四月和五月都会与参与者、部门负责人、项目负责人和领导团队讨论方法思路, 然后在接下来的每个学年都会欢迎经过挑选的候选人去参加为期八次的驻院实习。

All programme participants give an average of four hours of their time each day to work with our community and, in return, they benefit from resource access, opportunities for piloting ideas and mentoring, as well as research, exhibition and performance spaces. 


Meanwhile, we benefit from their ideas, approaches, expertise and creative energy. 


Students work with UK Theatre Director Ben Harrisson to explore devising narrative through architecture . 

From philosophers in junior school classrooms and ceramicists in science labs, to theatre directors in English lessons and conceptual artists in early years classrooms, the programme provides a plethora of learning lenses, benefiting educators, students and the wider school community. 



Each residency is different and participants deliver everything from stand-alone masterclasses or seminars to month-long engagements that are driven by project-based learning. 


Often, participants hold events, debates, concerts and performances, framing the school and campus as a cultural hub for the wider community.  


There are practical exchanges, too. The school offers housing and transport, pastoral care, marketing, networking and mentoring opportunities for all participants.

但也有实际的交流。 学校为所有参与者提供住宿交通、教牧关怀、营销、网络和指导机会。

To strategically manage this work, a new leadership role of creative director was developed, working in partnership with the head of school and the chief executive to help ensure the projects chosen effectively develop the school’s creative vision.


Essential in helping focus this vision and ensuring meaningful engagement for students, we introduced four guiding principles that practitioners and teachers alike can use to inform their approaches: 


Engage: Get students excited about their learning.

Enhance: Go beyond what we have done before.

Enliven: animate our campus and community with learning and expression and make learning visible.

Empower: Develop resilient and confident young people and progressive, open-minded educators.

Over the past eight years, these approaches have created impactful learning experiences for students, invaluable professional development opportunities for staff and inspiring cultural engagements for our community. 






Our students are now more likely to see their learning taking place in different and unusual areas of our campus, interdisciplinary and transdisciplinary approaches are more imaginative and collaborative in nature; and our educators are more confident borrowing lenses and connections introduced by practitioners. 

我们的学生现在更能看到自己的学习已经跨越了学校里常规的课程领域; 交叉学科和跨学科的方法在本质上更具想象力和协作性; 我们的教育工作者在借用实践者描述的视角和圈子时变得更加自信。

Choreographer Fleur Darkin working with students to explore personal identity through movement


Staff have benefited from professional development that has included artists from ISTA and other programme participants. Many “non-arts” subject teachers now have an understanding of arts-centralised skills that can be used to aid inquiry or manage energy levels within all subject areas. 

教职工们也从专业发展中获益良多,其中包括来自国际学校戏剧学会的艺术家和其他计划参与者。 因为许多“非艺术”学科教师已经了解到如何运用以艺术为中心的教育技巧,这些技巧可用于帮助探究或管理所有学科领域的潜力水平。

Screenings by filmmakers, seminars from philosophers and concerts from indie-pop musicians have brought our community together outside of the classroom and work explored, developed and started here has been performed, shared and celebrated internationally.  


Managing this process has shown that there are practical ways to nurture creativity in our schools and create the kind of grass-roots transformation that Sir Ken inspired so many to begin. 


As he stated: “A vibrant school can nourish a whole community by becoming a source of hope and creative energy.”


I believe what we have piloted demonstrates that there are practical ways to achieve that and very good reasons for others to explore similar approaches. 


Alex Soulsby is a creative education specialist and the creative director for Prem Tinsulanonda International School and its Artist Residency Thailand programme. 


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