How can we improve arts & culture opportunities in teacher training?  

Highlights from our Masterclass session with Young V&A, Sadler’s Wells, Towner and PGCE Course Leaders

3 October 2024

©Victoria and Albert Museum, London
©Victoria and Albert Museum, London

Our Cultural Sector Masterclass session on 11th September 2024 gave us a chance to reflect on the role and value of cultural organisations supporting creative subject teacher training, discussing how we can work more effectively together with universities to target teachers at the very start of their careers.


Our hosts Holly Burton (Senior Producer, Formal Learning at Young V&A), Laura Warner (Learning & Engagement Manager at Sadler’s Wells) and Mollie Howells (Learning Curator: Children and Young People at Towner Eastbourne) shared their recent research conducted through A New Direction’s Space for Change programme into what exists already in initial teacher training and what current teachers, lecturers, course leaders, trainees and PGCE students want and need support with.

In our event, Holly, Laura and Mollie each had one-to-on in depth discussions with their research partners:

  • Alice Hellard (Lecturer, Design Education; Programme Lead: PGCE Design & Technology; Design Department, Goldsmiths, University of London)
  • Julie Howard (Senior Lecturer: PGCE Secondary Art and Design, School of Education, University of Brighton)
  • Sara Daniels (BA Hons, PGCE, FHEA, Lecturer in Physical Education and Youth Development at St Mary’s University)

Main discussion points from the event

Holly, Laura and Mollie’s research survey reached a national network of teachers from Brighton to Bolton and they followed this up with interviews to higher education course leaders in dance design, drama, music and visual arts disciplines. Some of the highlights of their report included:

  • When trainee teachers had good local connections with organisations as part of their course they felt aware of the cultural offers available to them. This was different for more established teachers who sometimes felt less connected locally and more aware of national or international cultural organisations.
  • Many teachers and course leaders felt they weren’t aware of what the sector is currently offering or how to access this.
  • Teachers noted an apprehension of school age groups not being received well by cultural organisations or other visitors in the space.
  • Teachers brought up the need for creative subjects to be supported and advocated for.
  • Who can make the change, who's the right voice in the room, or is it a collective power that can make a big change?

During the interviews with the PGCE course leaders, we learned insights such as the current challenges in Early Career Teacher (ECT) and PGCE training, including the new framework, and understanding what that means for ECTs. Each speaker spoke about their subject specifically and how they have worked with organisations on specific projects.

The speakers described the process of integrating museum-based practices into the curriculum, the benefits this has for students in developing their creative identities, and importance of these experiences occurring early in the PGCE program with teachers. This reinforces teacher’s specialised knowledge and gets them comfortable in museum and gallery spaces.

It was highlighted that the relationship is of mutual benefit to organisations and teachers – with shared language and frameworks. Although these partnerships can be challenging to maintain, and there is a need for ongoing support and joint advocacy across education and cultural sectors.


5 top takeaways from the Masterclass:

  1. There are many examples of strong relationships between cultural organisations and teachers lasting - with teachers continuing them even when they move schools.
  2. There is a real need for ongoing support and joint advocacy across education and cultural sectors.
  3. We can’t be complacent and now is the time for our collective voices to be louder. These conversations are important and vital to continue; both informally and on larger platforms.
  4. Despite the specific differences or challenges between art forms, there are similarities across the board when it came to following new frameworks and the time each HE institution has to include cultural organisations within their own curriculum.
  5. There is a real enthusiasm and camaraderie to make these connections happen and develop meaningful partnerships across sectors.


Resources related to this event:

Actions moving forward – what can you do next?

  • What are the potential benefits of partnerships between teacher training providers, schools and cultural organisations?
  • What current approaches can we learn from?
  • Who could you start talking to? Make connections, understand each other, dedicate time.
  • Keep banging the drum.

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