Do you find the rules on data protection confusing? With new regulations coming into force at the end of May we’re being bombarded with information at every turn. We know how difficult it can be to get straight to the ‘nitty gritty’ so this month Lisa Mayo, Head of Gloucestershire Music, has written a blog to help direct you to the right places.
Lisa has also included some really useful tips for those of you who are tasked with taking children to performances that are not organised through the pupils’ schools. There are a lot of regulations that you may not be aware of, but hopefully this will help you along the way…
Are you up-to-date with the changes?
We all understand the frustrations and confusion that surrounds the many different legislations involved in data protection, asset management and various issues around policies to do with safeguarding but all of these areas exist to ensure the protection of the rights of our customers and the safety of the children in our groups. However, knowing what changes have occurred or are going to change can be overwhelming. So here are a couple of pointers to help with some of the areas which we have been busy ensuring compliance with over the last year.
General Data Protection Regulations (GDPR)
New regulations coming in on 25thMay 2018 help to ensure anybody collecting and handling data has considered the legitimacy and necessity of the data required and a balance with individuals’ interests, rights and freedoms. New accountability and transparency requirements will help to ensure that robust procedures are in place to handle of data effectively. Non-compliance can have severe consequences and huge fines so it’s important you are confident with the new regulations coming into effect and that you have the appropriate procedures in place.
Would you benefit from a more interactive approach to finding out about these changes? There are lots of courses currently being held around the country for people interested in attending – simply make an internet search for this and you should find a list of courses, as well as some online modules that can help you to build on your understanding.
Website links for guidance
The following website links might also be of use if you want to find out more about the changes in the first instance:
For information about what a ‘legitimate interest’ is for various areas click here
For detailed guidance about GDPR click here
An interesting blog was published recently by Michael Navarro (Chief Executive Officer of Spektrik) on the ‘Arts Professional’ website regarding the concerns over customer relationships with the implications of these new guidelines entitled ‘A customer-friendly approach to GDPR’. They also offer a free toolkit at the end of the article, which is designed to help arts marketers and fundraisers with their approaches to these changes.
Child Performance Licencing
People organising performances with the involvement of children may need to ensure they obtain a child performance licence (unless it is a school who are making the arrangements). The extract below from the www.gov.uk website outlines the basic description of when a licence may need to be applied for but the guidance is far more detailed in reality and has many more scenarios listed that might require you to obtain a licence. One of the main areas for consideration are regarding when schools or parents are not the organising parties of an activity/event and therefore an external body is directing children, if this applies to your organisation then you’ll need to read the documentation issued by the Department for Education carefully!
Performance licences and supervision for children
A child may need a licence if they’re under school leaving age (you can leave school on the last Friday in June if you’ll be 16 by the end of the summer holidays) and taking part in:
- films, plays, concerts or other public performances that the audience pays to see, or that take place on licensed premises
- any sporting events or modelling assignments where the child is paid
The person in charge of running the event must apply to the child’s local council for a child performance licence. Ask the council if you’re not sure you need one.
Supervision for the child
If the child won’t be with their parent, school teacher or home tutor, they must be supervised by a chaperone approved by the council. Chaperones can apply for approval from the council.
Supervision of children
The issue around supervision of children being conducted by a chaperone (as mentioned above) is also an area which requires additional training and chaperone licences to be applied for by staff, which are issued by the local council. Just having a DBS and having attended safeguarding training is no longer solely adequate when an event calls for ‘chaperones’ to be present. Where an event requires a child licence then the staff accompanying must normally be approved chaperones.
This document, issued by the Department for Education, helps to outline the child performing and activities licensing legislation in England so is an important read for anyone wanting to understand more about this area.
Organisations that hold multiple events involving young people
If you have a variety of events which would require child performance licences throughout a year then it might be worth applying for a Body of Persons approval (BOPA) from the local authority. The extract below is taken from page 10 of the document link in the paragraph above and helps to explain what a BOPA is and who it is appropriate for:
Body of Persons approval (BOPA)
1.3.7 Also under section 37(3)(b) of the 1963 Act, a licence is not required where a performance is given under arrangements made by a ‘body of persons’ approved by the local authority in whose area the performance takes place or, in a few exceptional circumstances, by the Secretary of State. Further detail is set out below.
What is a BOPA?
- A BOPA can be issued for an organisation (known as a ‘body of persons’ for these purposes) for a specific performance or for a limited period of time as set out in the approval, to put on performances involving children.
- The granting of a BOPA to an organisation replaces the need to apply for individual licences from each child’s home local authority during the period of approval – as long as the BOPA criteria and conditions continue to be fulfilled.
Who can apply?
- The organisation responsible for putting on the performance, and for ensuring the safety and wellbeing of the children taking part, must apply.
- Any type of organization can apply; it doesn’t matter if they are a professional company, amateur group, stage or broadcast – as long as no payment (other than expenses) is made for the child to take part.
Who can issue a BOPA?
- BOPAs are issued by the local authority where the performance is taking place.
- The Secretary of State has the power to issue a BOPA, but will not generally consider applications. This is because local authorities are better placed to assess arrangements made to safeguard children in local activities, to inspect those arrangements and enforce any requirements or conditions intended to protect children.
- The Secretary of State will not consider any applications that do not involve a large number of performances with a large number of children across a significant number of local authority areas.
What needs to be considered?
The decision whether to issue a BOPA is at the discretion of the local authority (or Secretary of State). They would want assurance that the body had clear, robust and well embedded policies for safeguarding children.
- A BOPA does not authorise absence from school for any child involved in the performances. If the performance involves absence from school that should be approved by the school – but see 3.2 in respect of the ability to approve absence from school.
- Where a performance is taking place under the auspices of a BOPA, the legislation does not require that the child be supervised by a chaperone approved by the local authority
Our local authority – Gloucestershire County Council
If you organise events involving children then the best plan is to get in touch with Gloucestershire County Council’s Education Inclusion Service as soon as possible and they will help to guide you through the approapriate arrangements for your event.
For more documentation and guidance on all child performance licence and chaperone issues then please click here
Please note that you need to plan ahead for licence applications, as it can take a minimum of 21 days before an event for the licence to be considered and issued, so our advice is to get your paperwork in long before your event is due to be held!
This blog aims to simply raise awareness and touch on some of the areas which have certainly affected us in our line of work over recent years so we thought it might be of interest to others working with children in the arts and hopefully will help to signpost you to some helpful areas if you wish to find out more.
#gloucestershiremusic, #gloucestershirecountycouncil, #GDPR, #artsprofessional, #performancelicences, #musicinclusion, #BOPA, #DofE, #musiceducation,
Some of you may remember Kirsty from her days of teaching music around the County. After working in Swindon for the last ten years Kirsty has returned as Executive Director for Gloucestershire Academy of Music…
Those of you who have had as long a career as mine will know that things go in circles. My professional loop brings me back to Gloucestershire following a 10-year stint in Swindon, running an arts education agency and then as a director of arts specialism in a secondary school.
In September, I was delighted to take up the post of executive director for Gloucestershire Academy of Music, working with the dedicated GAM team of administrators, teachers and trustees.
I started work in Gloucestershire in 1998, teaching music at Foxmoor Primary School. I then went on to co-ordinate the vocal strategy and deliver school and early-years CPD for Gloucestershire Music. At the same time, I was the regional officer for Youth Music, the national music education charity. It was a heady time. There was an air of optimism, plenty of development funding and a determination to stream-line music opportunities for young people and create new partnerships between providers. I enjoyed working with a huge variety of musicians and learning about our diverse musical ecology: traditional music, early years’ music, western classical music, jazz, Asian and African music, cathedral and choral music, rock and music technology. I met gig promoters, brownie leaders, youth-club workers, playgroup leaders, teachers, community activists and policy makers.
At this time, I came across Gloucestershire Academy of Music (or GAMPA, as it was called then). I visited one of their summer courses based at Beauchamp House, outside Gloucester to advise them about Youth Music funding. My perception was that GAM delivered music courses to groups of happy, enthusiastic children and young people who were making rapid musical progress in western classical music and getting masses of exposure to ensemble playing, sight-reading and great quality tuition.
How has GAM developed during the intervening years? The ethos and ambition remain, but GAM’s scope has increased hugely. GAM worked last year with nearly 700 children (90% of whom attended state schools) and 100 adult learners and these numbers look set to grow significantly this academic year. GAM employs 40 teachers. It has an impressive record of retaining its learners and providing progression routes (for example, 21% of the 142 young players taking part in The Big String 2018 in Gloucester Cathedral this month are Grade 7 and above). 27% of our Big-stringers will be playing in a music ensemble for the first time.
Whatever our approach or musical genre, we all want to ignite that spark which will instill a life-long love of music in our participants. I know that some GAM students have their sights firmly set on a career in the music industry, but many more will continue their participation in music-making into adulthood, as I have done, as an amateur, enjoying all the social and well-being benefits that this brings. I sing with The Oriel Singers (under the baton of Ben Sawyer) and am a recent recruit to Gloucestershire’s Community Gamelan.
Every fortnight I work with a wonderful group of singers called ‘The Wallace House Warblers’, all older people, some living with dementia. It’s a completely joyful afternoon and a tangible, visceral reminder of the transformative effects of music participation.
So, back to circles, and here we are again, fighting for music’s place in the curriculum, making the case for music’s contribution to well-being, trying to fill the gaps in provision and reach those people who need music most. GAM is glad to be a member of the Make Music Gloucestershire partnership, working towards achieving this in Gloucestershire.
As the nights draw in and Autumn is well and truly here Lisa Mayo, Head of Gloucestershire Music and the County’s Singing Champion reflects on some of her favourite seasonal music lessons and highlights some resources that might help to give you some inspiration for your own lessons and singing activities in the next half term…
I love Autumn and enjoy getting back into my woollies and boots and going for lovely long walks in the countryside witnessing all the beautiful changing colours of the leaves. Likewise in school, I found this time of year really inspiring for children and it seemed easier for them to be creative when composing and more emotive and reflective when listening to music.
With wonderful, imaginative and stimulating dates such as Halloween and Bonfire Night there is no better time to get children listening, composing and performing. I used to pop down to the ‘pound’ shops in town and deck my classroom out with cobwebs, light-up pumpkins and some creepy surprises that would keep the classes guessing and I had some of the best and most memorable lessons in my career! When you have fun with music then so will the children!
So I’ve put some ideas together as a mere lighting of the touch paper to maybe give you some inspiration for planning some fab and fun lessons of your own after half term! If you have some favourite seasonal lessons that you would be happy to share then we’d love to hear about them – so send them into me by email and we’ll share them on the Make Music Gloucestershire website.
Death is up there on most composers’ radars as a worthy inspiration. Saint-Saëns happened on the subject in the early 1870s, originally setting to music a strange, art-house poem by Henri Cazalis, which has the first line ‘Zig, zig, zig, death in cadence’. Originally it was for voice and piano but, thankfully, Saint-Saëns reworked it a couple of years later, substituting a violin for the voice and adding the full orchestra. When it was premiered at one of the Parisian Châtelet concerts (these took place in the Théâtre du Châtelet) it was immediately encored in full. Since then, it has remained one of Saint-Saëns’s most popular pieces, with television providing endless opportunities to hear it again in theme tunes.
There’s a whole narrative that unfolds in the piece, with the violin representing death himself and the story starting at midnight – hence the twelve chiming opening notes. So it was completely appropriate that the piece was chosen to open the Bafta-winning mystery crime series, from 1997 to 2013. It starred Alan Davies as the magician’s assistant who solves apparently supernatural mysteries using his knowledge of trickery.
If you type ‘lesson plans for Danse Macabre’ into any search engine you will find many resources, lesson plans, PowerPoints etc. that you can download for free or give you ideas for creating your own.
This is also a great piece for introducing children to graphic score, as they can start to respond to the music by finding shapes and symbols to help represent features such as changes in dynamics, texture and identifying structure and theme repetition and variation.
I used to love doing this lesson with Year 7 students (but you could easily do this piece with KS2 students as well) – here is a taster of how the lesson used to pan out!:
The students had to come into the classroom in silence, as I had the lights off and the classroom lit with my halloween fun lights (obviously PAT tested in advance!) and some spooky film music playing!
I would start to teach them a couple of spooky / fun songs at the beginning and then I would ask them to sit and listen to Danse Macabre whilst I told them the story. I tended to make up my own story based around the poem, as I felt this worked a little better! At the end I asked them ‘which their favourite parts of the piece were?’…’what instruments they could identify?’ (especially ‘which instrument plays the clock chimes at the start’ and ‘which instrument represents the cockerel at the end?’ etc.).
I would display the themes in notation on the board for the visual learners and to help develop their music reading skills. I would also play them the separate themes so they could familiarise themselves with the characteristics of each one in order for them to be able to identify them and tell them apart. This was a great opportunity to introduce terminology such as stepwise/leapy melodic lines; spiky/smooth rhythms and textures; accidentals and chromatic notes. We’d look at videos and pictures of the instrumentation (or have live demos if the instruments were available) that played the key themes and discussed the techniques involved and the parts of the orchestra they belonged to.
Then I used to spend time at the end of the lesson where we would clear the tables away and I would get them into separate groups to represent each theme. Then they would have to create a group tableau / freeze frame (creating an image conjured up from the poem) and then from a sitting position on the floor in their groups I would play the piece from the start and they would have to all work as a team in their groups to listen out for their theme and spring up into their freeze frame when the could hear their theme being played. It was quite a good method to see who was really confident with their understanding of the themes that they had been taught and who were still not quite sure! This group activity helps the less able to build in listening skills and confidence as well as developing those more able as group ‘conductors’. Some of the themes are quite similar so there is certainly an element of challenge there!
The Others (Film Soundtrack):
This is probably more appropriate for secondary age students, as it is quite creepy in parts(!) but it has wonderful instrumentation and techniques to get the pupils to try and identify, especially in the main theme of ‘The Others’ and ‘Wakey, Wakey’ i.e. bass clarinet, flute (in it’s lower range), cor anglais, tremolo strings, pedals etc. and has some more unusual keyboard and sting instruments to keep them guessing for a while! ‘They are Everywhere’ – has frantic orchestral textures and wonderful dissonant moments at the opening. Also the child humming the nursery rhyme in ‘Communion Dress’ is particularly creepy in true horror pastiche and this is followed by the huge swell of the roaring orchestra with more dissonance and polyphonic textures. You have been warned!
You can then introduce the pupils to some of the classic horror film musical concepts following the listening exercise:
- pedals (extreme pitch range i.e. bottom C and top C)
- chromatic melodic ostinati
- dynamic extremes
- unpredictable pulse / use of rests / unpredictable rhythms – to keep the listener on their toes and to build the tension
- changing nursery rhymes from major into minor or model tonality
- …and for once I used to let them include some ‘appropriate’ sound fx if they had included all the compositional basics!
Ask the pupils to compose their own short piece of horror film music by using some of these techniques. When they perform their pieces to each other their peers can use an agreed score rating to credit the techniques they have used from the list and then give a bonus mark for the ‘scare factor’!
The ‘Harry Potter’ film music is also a gem at this time of year, especially ‘Hedwig’s Theme’, which is a great melody to learn to play and a wonderful track to listen to with the magical celesta playing the theme in the opening!
There are lots of great resources out there to help Primary Teachers start singing more with their pupils. Singing doesn’t have to be given a designated ‘slot’ in the weekly timetable (although every school should have a fab singing club for the children to attend!), it should be integrated into their daily lives to enhance their academic experiences in every subject and help them to learn in a creative and motivating way. I wanted to highlight some of the resources on offer from Out of the Ark in this blog (although there are many other companies out there that also provide fantastic resources such as Sing Up, Singing Sherlock, Charanga etc.) and pass on some suggestions from them for some pieces which might be appropriate at this time of year.
I would love us to have some feedback from teachers in our county who have some suggestions about pieces that they sing with their children and have a great response from, as it can help others to be inspired and save time in searching for the ‘best’ songs to do in the next assembly…lesson…choir session. So please do pass on any of your ideas to me by email and we’ll start to share more and lessen the load for each other!
Song Bundles from Out of the Ark – Primary Singing Resources:
Are you looking for a selection of songs for your singing festivals or events? Perhaps you’d like a bundle of songs? Did you know that you can select songs from Out of the Ark’s various songbook titles? You can then even access selected songs via their Out of the Ark Music online account through the Words on Screen™ player – Singchronize®
Songs are available with:
- Printable music scores and lyric sheets
- Words on Screen™ element – interactive lyrics that synchronise with the vocal and backing tracks – making the songs easier to teach and learn.
- Downloadable MP3s
- Ability to stream or download the songs
- Ability to create an expandable library and playlists in your online account of single songs or titles.
- PLUS additional teaching notes for each song – where available.
If you’d like some more information about their song bundles do get in touch with Anna Edwards
A Few Fun Seasonal Songs:
|The Niki Davies Book Of Songs For Autumn And Winter||Pumpkin Head||· A great song, useful for looking at shapes and how to recognise them
· Perfect for younger ages
|Songs for EVERY Season||Conkers!||· A fun song which has become a firm favourite with children of all ages everywhere
· Celebrating the joy of conker collecting
Take a look at their blog post – Do you have what it takes to be a conker conqueror? http://www.outoftheark.co.uk/blog/do-you-have-what-it-takes-to-be-a-conker-conquerer/
|Songs for EVERY Season||Turn Back The Clocks|| • All the essential ingredients of Autumn rolled into a song
|A Combined Harvest||Picture Of Autumn|| • Full of lots of lovely Autumn vocabulary, a fabulous song to sing through the whole season
• Lots of scope for adding your own Autumn rhyming words to replace the verse lyrics
|The Niki Davies Calendar Of Songs||Crunching Through The Leaves|| · Perfect for Autumn, describing the sights and sounds of crunching leaves
• An excellent song to add untuned percussion to
Planning for Christmas Nativity / Concerts?
We’d love to hear about your plans for your musical Christmas events. Send us your photos, video or audio clips and let us share them on our Make Music Gloucestershire website so that we can start to show the rest of our county how wonderfully rich the singing is in our schools. So don’t be shy – be the first to get your school’s name ‘up in lights’ and share the achievements with your parents and pupils. Send any media along with a brief write up to us at email@example.com and we’ll be sure to post it on our website (please note: any media sent to us should have been checked for parental permissions in line with your school’s policy before sending it to us).
Have a wonderful Autumn and enjoy your festive music making in your schools!