artists in schools

artists in schools
This Guide has been produced by ArtsEdge, a partnership initiative of the Department of Culture and the
Arts and the Department of Education and Training. ArtsEdge supports the best possible arts experience
for young people in schools by establishing and maintaining communication networks, developing
partnerships, and disseminating information, research and resources.

The Guide can be downloaded electronically in PDF format via the ArtsEdge website.
www.artsedge.dca.wa.gov.au or a hard copy version is available on request.

Enquiries or comments may be directed to:

ArtsEdge
Department of Culture and the Arts The ArtsEdge guide for
ISBN-13 978-0-7307-4304-0
Department of Education and Training
(08) 9224 7300 Toll free 1800 199 090 (within WA)
artists and teachers in
PO Box 8349
Perth Business Centre
Western Australia
Western Australia 6849 9 780730 743040

[email protected] www.artsedge.dca.wa.gov.au
ISBN: 978-7307-4305-7
SCIS: 1408826
© Department of Culture and the Arts, Department of Education and Training 2009.
The Artists in Schools Guide may be reproduced for educational purposes within an
educational institution in Western Australia subject to the inclusion of an acknowledgement
of the source and no commercial usage or sale. Requests and inquiries concerning
reproduction and rights should be addressed to ArtsEdge, Department of Culture and the
Arts, PO Box 8349, Perth Business Centre, Western Australia 6849.

Disclaimer
The information provided in this guide was correct at the time of printing but circumstances
may change. ArtsEdge will endeavour to post all relevant updates to the guide online at
www.artsedge.dca.wa.gov.au
Links to organisations outside of the Department of Culture and the Arts and the
Department of Education and Training do not constitute an endorsement of those
organisations or the quality of their programs, products and services.
This guide provides only general advice. Readers should seek professional and specialised advice
for their individual situations.

Assistance for people with disabilities

This publication can be downloaded electronically in PDF format via
the ArtsEdge website www.artsedge.dca.wa.gov.au and can be made
available in alternative formats including audio CD/ cassette, Braille

*
and large print, on request.

Acknowledgements
The first edition of Artists in Schools 2007–2008 involved considerable research into
professional practice related to arts in education processes.
The Department of Culture and the Arts would like to thank the many artists, arts
organisations, teachers, principals, parents, students and administrators who contributed
to the original edition and who have contributed new material.
The Artists in Schools Guide works with partnership at its core and this publication would
not have been possible without the ongoing learning achieved through current best
practice in this field.
Artists in Schools – The ArtsEdge Guide for artists and teachers in Western Australia –
reprinted March 2009.

Buzz Dance Theatre at Greenmount Primary School

Photographer: Maya Kanamori
 CONTENTS

INFORMATION FOR SCHOOLS ...... 1 INFORMATION FOR

SCHOOLS + ARTISTS ...................... 25
Getting Started ......................... 3
Why Host an Artist in Your School? ........... 3
Planning your
Partnership Program ...................27
Types of Projects ....................................... 4
Writing a Project Brief .................................. 27
Types of Artists ......................................... 5
Documentation .............................................. 28
Making Contact with Artists ...................... 6 Program Outcomes ........................................ 28
Getting the Best Artist for Your School ..... 6 Participation Numbers .................................. 29
Making it Happen in Your School .............. 9 Time Management ......................................... 29
Session Planning ............................................ 29
Materials, Equipment and Working Space ..... 30
Preparatory Work ......................................... 30
INFORMATION FOR ARTISTS ..... 11
Orientating the Artist and School Community 31
Getting Started ...................... 13 Relationships and Responsibilities ................. 31
Getting a Working with Children Check... 13 FAQs .............................................................. 33
Thinking About What You Want to Do .... 13 Classroom Roles ............................................ 34

Developing a Quality Program ................. 14

Financial Issues............................35
Relating Your Work to the Curriculum
Budgeting ...................................................... 35
Framework .............................................. 17
Payment of Artists ........................................ 36
Developing Support Materials .................. 18
Funding ......................................................... 39

Finding Employment ............... 19 Meeting Policy Requirements .......43

Developing Publicity Materials................. 19 Health and Safety .......................................... 43
Employment Opportunities ..................... 20 Risk Management .......................................... 43
Public Liability Insurance, Taxation and Public Liability Insurance .............................. 44
Superannuation ....................................... 21 Copyright and Intellectual Property .............. 44
Taxation and Superannuation .................. 21
Working in Regional and
Planning Checklist ........................46
Remote Communities .............................. 22
Evaluation and Reflection.............49

CONTACTS + RESOURCES.............. 53

PROJECT BRIEFS ........................... 63

ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– III

 INTRODUCTION
INTRODUCTION

What is the Purpose of this Guide?

This is a guide for those artists and teachers planning artists in schools
programs for their students. Artists in schools programs offer new and
exciting ways of teaching and learning. Students, teachers and artists can
grow through these creative partnerships and develop new skills and
understandings. The innovative aspects of many programs also have
potential to draw together the different Learning Areas of the Curriculum
The information given
Framework and link the classroom with the professional arts world and the
in this document local community.
aligns with Western
Australian public school Schools have the option of organising for an artist to work on the school
policies and procedures; site; or for students and staff to visit the artist away from the school
however, it will also grounds, for example at their studio, in a gallery or at a theatre. While this
be relevant to those Guide focuses on organising projects that take place in schools, please
note, if you are considering visiting the artist away from the school site
working in the private
you will need to ensure that the requirements of the Department of
education sector. Education and Training Excursions: Off School Site Activities policy are met.

Working as Partners
To promote successful practice among all those involved in artists in schools
programs, this Guide gives advice on what you need to do and know to
get a program off the ground. The intention of the Guide is to encourage
schools and artists to work together in partnership when planning artists
in schools programs. Research indicates a collaborative approach results in
more successful outcomes for students, artists and schools.
This Guide is intended to be a reference and resource tool that artists and
schools can work through in partnership and can photocopy, write notes
in and refer to at different stages of a project. However it is important to
note that some sections of this Guide are crucial to the success of any
artists in schools program and should be read and understood carefully.
They include the sections on Working with Children Checks, Duty of Care
and Public Liability Insurance.

Who is it for?
This Guide is for arts practitioners working in any art form across the arts
learning areas of dance, design, drama, media, music and visual arts and
also including multi-arts and creative writing.
While the information given here aligns with public school policies and
procedures, it will also be relevant to those working in private schools.

IV –––––––––––––
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ARTISTS : ARTISTS GUIDE
IN SCHOOLS : ArtsEdge
IN SCHOOLS GUIDE
 INTRODUCTION

F
Further references

How to find your way around this Guide 8

The Guide is organised into information for teachers, information for Helpful website
artists, and advice for both teachers and artists working together. It has
been colour-coded to assist you in orientation.
Because artists in schools programs evolve in different ways, some
sections for teachers may be relevant for artists, and vice versa; and
your questions and ideas may not arise in the same sequence as we Helpful documents
have organised them here... so please feel free to use this guide the way
it best works for you!
Good luck, and have fun! !
Fill in checklist
This Guide has been colour-coded to assist you with orientation

Page 1 INFORMATION FOR SCHOOLS

Page 11 INFORMATION FOR ARTISTS

Page 25 INFORMATION FOR SCHOOLS + ARTISTS

Page 53 CONTACTS + RESOURSES

Page 63 PROJECT BRIEFS

ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– V

SCHOOLS

VI
 SCHOOLS

INFORMATION FOR SCHOOLS

What’s in it for Schools?
Hosting a visiting artist is an opportunity for teachers to develop their
skills and professional knowledge in new and exciting approaches
to teaching and learning. Many come out of the experience with
increased confidence in their own creative skills and their ability to
facilitate students’ creative work, not only in the Arts and English
Learning Areas, but also across the whole curriculum. Artists in
schools programs enable teachers to link the classroom to other
staff and students in the school, to the professional arts world and to
the local community.

This section of the Guide is for teachers, principals and administrators

getting started with an artist in schools program.

Getting Started ...................................... 3

Why Host an Artist in Your School? ......................................... 3
Types of Projects ..................................................................... 4
Types of Artists ....................................................................... 5
Making Contact with Artists.................................................... 6
Getting the Best Artist for Your School .................................. 6
Making it Happen in Your School............................................. 9

This page: Pupil from Kapinara Primary School, The Kaleidoscope Ensemble.
Photographer: Paul McGovern.
Opposite page: Mural at Tom Price Senior High School.
––––––––––––– 1
ArtsEdge
ArtsEdge: :ARTISTS
ARTISTSININSCHOOLS
SCHOOLSGUIDE
GUIDE–––––––––––––
Artist: Si Hummerston, (Artsource). 1
SCHOOLS

2
 SCHOOLS

Getting Started

Why Host an Artist in Your School?

Current research indicates numerous benefits for students
engaged in artists in schools programs. The benefits include The Australia Council has
improved problem solving and creative skills, increased published a list of recent research
in arts education. The Arts
self-esteem and improved achievement in other learning Education Research in Australia –
areas. Bibliography 1980-2001, intended
for use by researchers in arts
There are a number of reasons why schools host artists in schools education, students, academics
and other interested parties,
programs. These may include:
contains over 500 references.
l enabling students the opportunity to express themselves creatively For further information visit
www.ozco.gov.au

l
and be involved in consultation that shapes their own learning;
developing specific skills, for example, choreographic skills or digital
8
animation skills;
l implementing the WA Curriculum Framework via arts or cross-
curriculum projects;
l celebrating an event in the school community such as a centenary or
festival;
l enhancing the school environment, for example, students
commenting on and contributing to school identity through a mural,
mosaic, sculpture, dramatic piece or other public artwork;
l benefiting students at educational risk; programs may be planned to
encourage students’ self-expression and self-esteem, and to develop a
positive mentoring relationship between students and members of the
non-teaching community;
l addressing social outcomes and values education, for example, team-
work, self-confidence, social interaction, social identity and participation
in the community; and /or
l enhancing vocational education programs.

Opposite: Students from Newman Primary School.

Artist: Si Hummerston, (Artsource). ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 3
SCHOOLS

Types of Projects
On what basis can I involve artists in my school?
“The benefits of
hosting artists Schools have the option of organising for an artist to work on the school
site; or for students and staff to visit the artist away from the school
in schools is an grounds, for example, at their studio, in a gallery or at a theatre. This Guide
enrichment of the focuses on organising projects that take place in schools. While there are
student’s experiences advantages to both options, artist in schools programs allow students to
which can be used try something new in a safe, supportive and familiar environment.
as a springboard for
activities in the various Artists in residence
learning areas.” An artist in residence allows an artist to carry out creative work at a
school over a period of time. The artist works closely with students and
the classroom teacher, using their own work, ideas and skills as catalysts
for the students’ own creative explorations. Residencies are time and
John Mann, former Principal, energy intensive on the part of both school staff and artists; however,
Rosalie Primary School
they allow the participants to build relationships over time, and often have
long lasting positive outcomes for all involved.
Residencies may be structured as one solid block of time or may be
broken into smaller units over a longer period of time. For example, the

8 artist could spend an entire week working with students every day, or the
artist could visit the school one day a week for a term. In regional areas
Check out the “What’s on” link travel costs will generally dictate that artists who are travelling substantial
on the ArtsEdge website at
www.artsedge.dca.wa.gov.au
distances to visit will carry out their residency in blocks of time.
for information on touring
and exhibition performance
schedules. For help in Visiting artists
comparing different artists and
organisations, refer to page 6 Artists can visit schools for a few hours or a day to present performances,
– Getting the Best Artist for demonstrations, workshops or master classes. These are more likely to be
Your School. on a one-off basis than as a continuous program. While the connection

F that the artists can make with students in this time is limited, these events
are less time-consuming to organise than a residency, and can be easier to
accommodate within a busy school timetable.

Excursions
An excursion is a visit to a place outside of the school grounds, for example
8 an artist’s studio or a theatre. Many venue-based institutions run in-house
education programs and/or employ Education Officers who can explain
Excursion Management Plans
for a variety of WA excursion their programs and may be able to tailor them to your school needs.
providers can be downloaded Offsite activities or excursions have different requirements to those taking
from the Department of place in the school grounds and schools will need to ensure that the
Education and Training website requirements of the Department of Education and Training Excursions: Off
at www.det.wa.edu.au/
schoolexcursions/detcms/
School Site Activities policy are met.
portal/

4 ––––––––––––– ArtsEdge : ARTISTS IN SCHOOLS GUIDE

 SCHOOLS

Types of Artists
What type of artist could I employ for an artists in schools program?
There are many different types of artists. For example, you could invite a dancer,
musician, circus performer, painter, photographer, film-maker, fashion designer,
installation artist, sculptor, digital artist, jeweller, mime artist, puppeteer,
graphic designer, animator, landscape designer, set designer, poet, writer
or storyteller to your school. Don’t be afraid to take on something different
or an art form that you don’t know much about. Opening up students’
perceptions of art and artists can itself be a starting point for creative
inspiration.
Consider whether you would prefer to host an individual artist or a company
of artists. Throughout this Guide, we have used the singular term artist
for the sake of consistency but this should not be read as excluding artists
working together.
Another thing to think about is whether you would like your students to
work with an artist with specialised cultural or personal knowledge or
experience. Artists in schools programs can be an opportunity to pursue
curriculum and personal development agendas in addition to those in the
Arts Learning Area. Indigenous artists, for example, may be able to teach
students about the local landscape and Indigenous culture, while some
teachers may employ male artists to present positive role modelling.

Notes on employing Indigenous artists

Indigenous artists represent a great opportunity to introduce students to Indigenous culture

and share some of their artwork, stories and experiences.
Recognise that artworks, designs, stories and other cultural material are part of the unique
spiritual and intellectual property of different Indigenous groups. If you are employing a
local artist with a view to educating students about the local Indigenous community and
their heritage, it is desirable and appropriate that you check with the leaders/elders of that
community and that they are satisfied that your chosen artist is permitted to practise in your
area. The Department of Indigenous Affairs will be able to direct you to your local Aboriginal
authority or Council of Elders. Your school’s Indigenous Education Officer or Liaison Officer
may also be able to do this and offer you additional advice.
Talk to the artist about any spiritual and intellectual property issues that his or her work
might raise and encourage the artist to, in turn, talk to students about them and explore their
meanings for creative and collaborative work in the classroom.

ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 5

SCHOOLS

Making Contact with Artists

Where can teachers find out about artists working with schools?
Contact details for Western
Australian organisations across Professional associations and professional arts companies will be able
the visual arts, performing arts,
music, dance, literature and multi-
to provide information about artists available. Some have databases or
arts are given in the Contacts and specialised referral systems to help you find the artist you are looking for.
Resources section, commencing on l Regional teachers can contact their local art associations who may
page 53.
be able to suggest a member or associate willing to come into your
F l
school.
Talking to other teachers about their experiences with artists in schools
can yield contacts through word of mouth.
l Newspapers and gallery publications will often contain reviews or
articles about local and touring artists and what they are currently
working on. If their work sounds interesting, follow up on it.

Getting the Best Artist for Your School

How can teachers know if an artist or artistic company has
professional integrity?
Artists working in schools may have very different levels of experience,
skill, or understanding of the school environment. Teachers may need
assistance in differentiating between what artists are offering and assessing
who would be most appropriate for their students. This is especially the
case if you are not familiar with the art form or are not a specialist arts
teacher yourself.
The questionnaire on the following pages is designed to help teachers
make decisions about whom they visit or invite into their school. Artists
don’t necessarily need to fulfil all of these criteria. You may decide to
choose an artist who rates particularly strongly against some criteria and
not so strongly against others. For example, a younger artist may not have
a particularly detailed curriculum vitae or body of work behind them,

3 however they may be fresh in their approach and enthusiastic about

working with young people.
Do take an active line of enquiry by seeing and experiencing artists’
works and asking lots of questions. Talk to artists to gauge their enthusiasm
If you have interviewed for the project you have in mind and ask them for ideas on how it might
be developed.
or discussed the project
Do take a professional approach when contacting and interviewing
with a number of artists,
artists. If you are spending Department of Education and Training funds, or
always notify those who funds granted by an external body, you must account for its use. Always
are unsuccessful and do not keep the selection process transparent and be prepared to explain to
exploit any ideas that were other artists, students, teaching staff and parents why you have invited
this artist or company to the school.
offered to you as part of
their proposal.

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 SCHOOLS

Choosing an Artist: Questionnaire

!
Does the artist have legal clearance?
o The artist will have completed a Working with Children Check.
See Page 13 for further information.

Is the artist a practising professional?

o The artist will have a substantial body of work.

o The artist will have a CV detailing exhibition or performance history,

relevant tertiary qualifications, scholarships and grants received, and
any workshops and professional development programs attended.
o The artist will have a portfolio of work to show you.

o The artist will earn at least part of their living by working in their art
form.
o The artist may have been reviewed or featured in local newspapers,
television, magazines or specialist arts publications.
o If required, the artist will have suitable public liability insurance.
See Page 21 for further information.

Does the artist have a professional arts

management approach?
o Whether the artist is supported by a company with administrative staff
or is working independently, he or she should be reliable, professional
and accurate in all aspects of project organisation. This may include
everything from returning phone calls and emails promptly,
communicating effectively about their needs and requirements, or
being able to explain their fee structure.

ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 7

SCHOOLS

Can the artist communicate clearly with students

and staff?
o The artist is able to demonstrate a relaxed and effective communicative
style and provide examples of situations where he or she has used their
communication skills with other young people or in the community
at large.

Does the artist have a commitment to working

with educators and young people?
o The artist has an awareness of the Department of Education and
Training policies, procedures and guidelines.
o The artist may have been trained on leading workshops or working
with young people.
o The artist may have prior volunteer or paid experience in schools.

Does the artist have an awareness of the Curriculum

Framework and the potential educational value of
their work?
o The artist will demonstrate an awareness of the Curriculum Framework
and may be able to suggest ways in which their work can develop
understandings in different Learning Areas.
o It is not necessary for the artist to have tertiary qualifications in
teaching, as one of the best things about artists in schools programs
is introducing students to someone who approaches learning
differently.

Is the artist able to provide referees?

o You should be able to substantiate all of these criteria by contacting
referees provided by the artist.

8 ––––––––––––– ArtsEdge : ARTISTS IN SCHOOLS GUIDE

 SCHOOLS

Making it Happen in Your School

There are a number of considerations to take into account when planning
a successful artists in schools program. From timetabling to making links to
school priorities or the Curriculum Framework, well planned programs reap
the best rewards for participating students, teachers and artists.

The coordinator
Artists in schools programs require a person to take responsibility for the
planning and coordination of the project. This person may be the school’s For further information on
principal or deputy, an arts teacher, classroom teacher or member of planning an artists in schools

F
the school community. The coordinator has the responsibility for making program refer to page 27.
the artist feel welcome in the school and ensuring that planned outcomes
are met.

Being a good host

As a visitor in your school, an artist will need to be welcomed into the
school community and informed of school procedures. When planning For further information on
your program with the artist prior to them commencing, it is advisable orienting an artist into your
that they are made aware of Department of Education and Training
policies on topics such as behaviour management and duty of care.
school refer to page 31.
F
The school timetable
Flexible timetabling may be required during the period that an artist
is engaged in your school to gain full benefit for students and teachers
involved in the program. It may be necessary to combine classes or
allow students the flexibility of attending lessons other than those usually
timetabled.

Planning for curriculum relevance

Planning your artists in schools program around outcomes of the Curriculum
Framework allows for opportunities for students to acquire knowledge,
understandings and skills linked to a variety of learning outcomes. Careful
planning will ensure that development of selected outcomes can occur.
Artists working in schools are encouraged to have an understanding of
the Curriculum Framework and how their work may be linked to outcomes
contained within it.

Funding
There are a number of funding options for financing artists in schools.
Refer to page 39 for further
information on funding your
Further information
F
program.

Further information on teachers and artists working together to plan a

program can be found in Section 3 of this Guide, Information for Artists and
Teachers.

ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 9

SCHOOLS

A Note for the Principal and School

Leaders
Principals and other leaders in the school community have an important
role in artists in schools programs. Their encouragement of professional
artists visiting their school, and for teachers working with these artists,
consolidates successful programs. Their support makes it possible for the
benefits to be communicated and felt across different year levels, teaching
and non-teaching staff, district schools and the wider community.
Principals and school leaders have the responsibility for financial
management of the artists in schools program, from allocating schools’
grant monies to administrating external grants on behalf of the school.
They will be involved in managing terms and conditions under which the
artist is employed and supervising compliance with relevant Department
of Education and Training policies.

3
Principals and other school leaders are in a unique
position to encourage educational innovation across
the Learning Areas and involve the school with the
local community.

10
 ARTISTS
SCHOOLS

INFORMATION FOR ARTISTS

What’s in it for Artists?
Artists become involved in artists in schools programs for a
variety of reasons. Many artists find it liberating to work with an
audience that has an original and unselfconscious way of looking
at their work. For many artists, developing a body of experience
as artists in schools is also part of diversifying their employment
opportunities and building their career sustainability as practising
professionals.
Artists in schools programs give artists an opportunity to work
with children and young people, and to facilitate the expression
of their ideas, identity and creativity. When working in schools,
artists can contribute not only their expertise in their chosen art
form, but their personal skills and qualities as a responsible mentor
for young people.
This section of the Guide contains information for artists about
getting an artists in schools program started.

Getting Started ..........................................13

Getting a Working with Children Check............................. 13
Thinking About What You Want to Do .............................. 13
Developing a Quality Program ........................................... 14
Relating Your Work to the Curriculum Framework ...........17
Developing Support Materials ............................................ 18

Finding Employment ...................................19

Developing Publicity Materials........................................... 19
Employment Opportunities ............................................... 20
Public Liability Insurance ...................................................21
Taxation and Superannuation .............................................21
Working in Regional and Remote Communities ................. 22

This page: Jigalong Remote Community School, Awesome Project. ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 11
Photograph by Poppy van Oorde-Grainger.
SCHOOLS
ARTISTS

12
 ARTISTS
SCHOOLS

Getting Started
What are the first steps for artists interested in working in schools?

Getting a Working with Children Check

If you are interested in working in schools, the first thing to do is get a
Working with Children Check. ArtsEdge promotes and schedules
professional development
A Working with Children Check is required by volunteers, employed workshops for artists in schools
and self employed people in “child related work”. Child related work throughout the year. Workshops
includes duties that involve or are likely to involve contact with a child are held in the metropolitan
in connection with work as a self employed artist or arts organisation in area but regional workshops
may be available on request. For
a school. Contact is defined as any form of physical, oral or electronic
upcoming dates and times, check
communication. Exemptions only apply if the total amount of contact the ArtsEdge website at www.
with children does not amount to more than five days in a calendar year. artsedge.dca.wa.gov.au
The Working with Children Check and the Working with Children Act 2004 8
is available on the website www.checkwwc.wa.gov.au, or for further
information please contact the Working with Children Screening Unit:
Level 5, Dumas House, 2 Havelock Street, West Perth, WA 6005.
Telephone: (08) 6217 8100 or Toll-free: 1800 883 979.

Thinking About What You Want to Do

Next, it is essential to do some initial thinking about what you want to
contribute.
l Think about the skills and qualities you have to offer schools. This
may include not only the particular technical skills of your discipline
but background knowledge of your discipline and the professional arts
world, and your personal skills and qualities.
l Think about which elements of your work would be most interesting
to young people. You should discuss this with teachers and young
people in the community where you will be working.
l Think about which age group you would like to work with.
If you are not sure whether you would be suited to working in schools
(maybe you have little experience with children and young people) you
could ask a local art teacher or an artist already working in schools whether
you could join them for a short period of time to see what it is like. Later,
these people may be willing to act as your referees in recommending you
for a paid engagement.

Opposite: Bunbury Masks, Si Hummerston (Artsource). ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 13
SCHOOLS
ARTISTS

Developing a Quality Program

How do I go about developing a quality program or performance?
As an artist you should be able to present in writing or at least explain
On Page 7 we have given teachers
a questionnaire to help them
verbally, what you are able to offer schools. You will need to demonstrate
decide on an artist for their that your program has been thoughtfully developed, with a high level of
school. artistic excellence and an awareness of the needs of schools and young

FTurn to page 19 and consider

people.

how you might market your Offering artistic excellence

program to a prospective school.
Your program should be developed with the same high levels of
professional skill, execution and production that you would invest in any
public program. Don’t underestimate your audience – school students are
no less demanding than the general public.
A commitment to artistic excellence is necessary not only in order for
you to personally offer a quality product for your fee, but to:
l demonstrate to students what the arts can do, achieve and express;
l provide students with a role model for a professional artist, especially
those interested in a career in the arts; and
l contribute to the professionalism of artists in schools. Poor quality
artistic products make it less likely for teachers to invite other artists
into their schools.

Respecting students’ and teachers’ diversity

Is the subject matter of your program respectful of the cultural background
and diversity of students and school staff? Think about gender balance
in your material and make sure it is accessible to and interesting for
your audience. Consider whether the proposed delivery of your project
or performance, in any aspect of its production, might disadvantage
any students with disabilities or particular needs and prevent them
from participating. Ensure access requirements for students with disabilities
are met to provide an inclusive work environment. Schools can give you
guidance in this area.

NOTE
3 Dealing with confrontational subject matter
An artist should be properly briefed by schools on any potentially
confronting issues when planning the artists in schools program. If the
artist chooses to use such material, they should inform the teacher
Be aware of subject matter
prior to the program commencing. If the performance or workshop is
that may provoke or offend,
likely to arouse strong emotional responses in students, the artist and
for example, that involving
teacher should plan ahead for a follow-up to the performance with time
sexual or violent behaviour,
for students to share their thoughts and feelings about it. If issues arise,
drug use, issues relating to
race, religion, sexuality or
you should speak to the artists in schools coordinator about appropriate
youth suicide.
intervention or counselling.

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SCHOOLS

Engaging students
In designing your program or performance proposal, think about ways
to engage students and to allow space for their own sensory responses,
ideas, imagination and play.
Ask yourself:
l Is my work fresh?
l Is it entertaining?
l Is it meaningful?
Engage students from the initial planning stages; ensure that the teacher
has already had some consultation with the students in regards to their
interests, arts skills and how they see the project being shaped. You can
then work with students to develop these initial ideas into something
tangible and appropriate to meet the school’s objectives.
Where possible, provide opportunities for hands-on interaction or student
audience participation. If you are asking students to perform tasks, keep
them open-ended so that the emphasis is on participation. Also, if you are
presenting a workshop or performance, allow five to ten minutes at the
end of the session for students to ask questions.

Pacing and timing

Issues of pacing and timing will be different for artists presenting a short
workshop or performance, and artists participating in a project over a
longer period of time. However, the design for all artists in schools
programs should consider pacing and timing, and the ability of the artist to
hold students’ concentration and energy levels.
l Factor in a certain amount of flexibility in session planning to allow for
students to be spontaneous and ask questions about things they are
interested in.
l Have extra activities ready in case the session runs faster than you
expect and you have time remaining.
l Be aware of the constraints of the school timetable. Starting late or
keeping students beyond the scheduled time cuts into other teachers’
valuable time and disrupts the smooth running of the school.

Level of activities
Even experienced artists working in schools comment that it is difficult
to anticipate what level of skills and understanding the students will have. It may be useful to refer to the
Outcomes and Standards Framework
You may have to adjust your activities as you go, to slow down for students under the Policy and Framework
who are having difficulties or add additional challenges for students who tab or the Learning Areas in the
are competent and eager. Plan this in advance so you won’t be stuck when Western Australian Curriculum
you are in front of a class. Framework

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Planning for what you will need

Think about all the things you will require to make your performance or
workshop happen. This information will assist schools in providing an idea
of whether they have the appropriate space and resources to host you.
l What sort of working or performance space will you need? Do you
need an equipped theatre, with a particular kind of floor for dance
or can you work in an assembly hall, a classroom, a playground, or a
library? Do you have a minimum space requirement in square metres?
Do you require access to power?
l What materials will you require? For example, sound equipment,
overhead projector, extension cords, lights, desks, easels, writing
boards, pens, paper, computers and IT support? Can you provide
these or will you ask the school? Do you need materials and equipment
for varying access requirements? Check with the teacher if particular
equipment is not to be made available to certain students and allocate
them other tasks.
l If you are visiting the school, how long will you take to set up and pack
away? You could include students in this process.
l If undertaking a remote regional residency, provide a written list of
requirements ahead of time to identify what you’ll need to bring.
l Never assume the school will have all the resources or materials you
will need during the course of the residency.

3
Managing your arts practice
Support your artistic energy and passion by practising professional
arts management. This means organising yourself effectively, communicating
promptly and in writing where possible, giving accurate information about
Be aware that funding yourself and your program, being able to explain your fee structure, and
applications may take many getting all important agreements in writing.
months to be assessed
and processed. Also many Plan ahead
schools plan their budgets
for excursions, professional Be aware that funding applications may take many months to be
development and special assessed and processed. Also, schools plan their budgets for excursions,
projects for one year at the professional development and special projects for one year at the end of
end of the previous year. the previous year.
There are many competing demands on financial resources in schools.
Having an organised proposal, with promotional and support material such
as a CV or portfolio of recent work, DVD or PowerPoint presentation
ready to show schools will put you in a better position to be employed
and provide justification to the school’s budget committee.

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Relating Your Work to the Curriculum

Framework
Why should artists’ work be relevant to the curriculum?
Asking you to relate your work to the Curriculum Framework is not
asking you to become a de facto teacher or to share responsibility for For a copy of the Western
its implementation. It does make your work more relevant to student Australian Curriculum Framework,
including Senior School (WACE)
learning and give it continuity with normal school life. Curriculum Framework Courses and further information,
relevance means that teachers can expand upon key themes, ideas and contact the Curriculum Council of
knowledge in normal class time, and this adds value to your program. Western Australia (08) 9273 6300.
A description of the Curriculum Framework and the Learning Areas is www.curriculum.wa.edu.au/
internet
available online from the Curriculum Council of Western Australia.
www.curriculum.wa.edu.au/
The Curriculum Framework establishes learning outcomes expected of all internet/Senior_Secondary/
students from Kindergarten to Year 12, regardless of who they are, where
they are from or which school they attend. The Curriculum Framework
courses
8
reflects contemporary thinking about what students need to learn in
order to lead successful and rewarding lives in the twenty-first century
and how schools and teachers can best help them to learn.

The Curriculum Framework is divided into eight Learning Areas. These are:
l The Arts
l English
l Health and Physical Education
l Languages
l Mathematics
l Science
l Society and Environment
l Technology and Enterprise

The Curriculum Framework recognises that values shape and underpin

the curriculum, and as such, presents a set of core shared values stated
explicitly as part of the document. The values are also acknowledged,
promoted and integrated through the outcomes in the Overarching and
Learning Area Statements and should be considered when planning an
artists in schools program.
When looking at the Learning Areas your work might be relevant
to, don’t feel the need to restrict yourself to the Arts Learning Area.
Many artists in schools programs link skills, knowledge and understandings
across other Learning Areas.

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Developing Support Materials

What are support materials? Why are they necessary, and how
should they be designed?
Support materials add value to artists in schools programs by building
on the depth and breadth of student engagement. Support materials
provide students with additional information about the artist, and use the
project or performance as a ‘leaping off’ point into further exploration
of key themes, ideas and processes. They are therefore a good way of
consolidating your work’s continuity with the Curriculum Framework.
Support materials can be given to students and teachers before the
program begins, as the program is happening, or after the completion of
the program, to continue the engagement and reflect upon what students
have learned and experienced.
Support materials can take a variety of forms and shapes. The following
ideas for content might get you started.

Pre-visit materials
l Information about yourself and your artwork
l Samples of your artwork such as images, CD, DVD, video, published
book, catalogues, PowerPoint presentations etc
l Information about what is going to happen when you meet the
students
l Key words
l Key themes
l Historical background of art form or subject matter
l Articles from newspapers, websites and other publications
l Website references

Visit materials
l Texts – songs, poems or dialogue, scripts etc

3 l

l
Images, music or warm-up games
Student activity sheets
‘How to’ instruction sheets
l An explanation of the materials and equipment you use – what they
Ask teachers for feedback are named, where they come from and how they work
on your support materials,
and continue to evaluate
and improve them as you Post-visit materials
go along.
l Questions or problems that might serve as discussion starters
l Directions for obtaining further information
l Suggestions for follow-up activities

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Finding Employment
Developing Publicity Materials
What sort of materials can I develop to promote my work and myself?

3
Promotional materials can be produced in a number of formats, for
example, as flyers, brochures, posters, CD-ROMs, DVDs or websites.
Teachers are busy people and encounter a large volume of information
every day, so information for schools needs to be easy to read, factual
and eye-catching. Make the important information easy to identify and
If you are mailing material
use bright colours and photographs to keep your publicity material visually to schools, make sure
interesting. before you print that it will
fit easily into a standard
Publicity material could include the following information: envelope.
l an accurate description of the performance, presentation or service
you are offering, including its subject matter and duration;
l a suggestion for its age appropriateness and relevance to the Curriculum
Framework, Senior School (WACE) Courses, endorsed programs or
Vocational Education Training;
l information about your artistic background and your experience in
working with young people or communities;
l an indication of your style and approach to working in schools;
l testimonials from newspaper reviews or schools you have previously
worked with;
l fees and charges, with any special discounts for group bookings; and
l contact and booking information.
If you want to use images of past workshops and performances in your
publicity materials where those images include school students, be aware For more information on taking
of recent changes in child protection and privacy policy. These mean that photographs of school students,
you cannot use such images unless you have the written permission of the see page 45.
students’ parents or guardians. Image Permission Forms for use in schools
are available from ArtsEdge. Contact: (08) 9224 7300 or visit the website F
at www.artsedge.dca.wa.gov.au/7_hot.asp
Printing and publication of publicity materials can be expensive, especially
if you want the graphic design to be done professionally.

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Employment Opportunities
Artists interested in going into Western Australian schools face an
increasingly competitive market in which local artists and arts organisations,
and interstate and international touring programs, not to mention a host
of non-Arts related activities, are all competing for schools’ time, attention
and resources. Adding to the challenge is the fact that in the absence of
a formal network or registration of artists in schools, engagements are
often made through local experience and word of mouth.
There are, however, a number of ways in which artists can increase their
opportunities for employment and raise their profile among teachers and
schools.

Distributing publicity materials

Artists may wish to approach schools in their local area directly with
ideas about how they could be involved. Now that you have designed
colourful and informative publicity materials, use them! If you want to mail
them out, bear in mind that schools process a large volume of mail every
day and there can be problems trying to get the information to the right
person. If possible, ring in advance and find out if the school has an arts
coordinator. If so, address correspondence to that person.

Advertising your services

School Matters, the newspaper for the Western Australian public education
School Matters is produced by
Corporate Communications sector, may be a good place to advertise, as it is read by the majority of
and Marketing, Department of Western Australian teachers. School Matters is published three times per
Education and Training school term.
www.det.wa.edu.au/schoolmatters
(08)9264 4239
8 Registering with professional associations
Many professional arts education associations and arts organisations maintain
Refer to the directory of
professional associations databases and registers of artists, including writingWA and Artsource.

F
see page 57. Contact those in your art form, forward your Curriculum Vitae and
publicity materials, and indicate your interest in working in schools. Schools
and other institutions do call these associations and you will be well placed
to be referred. Or, talk to the producing arts organisations that you may
already be affiliated and ask them to keep your contact information on file
and updated.

Expressions of interest
Check local electronic and print newsletters, specialist magazines, and the
websites of arts organisations for calls for expressions of interest in artists
in schools programs. Awesome’s Creative Challenge program advertises in
this way.

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Public Liability Insurance

Public liability insurance is a form of insurance that protects you against
claims made for personal injury or property damage caused by you or See page 36 for information on how
artists can be employed in schools
your organisation. and page 44 for information about
Public liability insurance has been an issue for everyone in the creative the way public liability insurance is
required by schools
arts sector in recent years and this is especially so in schools, as working
with children and young people entails considerable responsibility – and The following links may be
potential liability. Holding public performances and conducting workshops useful:
in which students are using tools and raw materials increases the risk in Visual artists can receive affordable
the eyes of insurers. public liability insurance through
the MAX membership with
Whether or not you need public liability insurance will depend on the Artsource: www.artsource.
way in which you are employed in the school. Artists who are engaged net.au/memberservices/
as casual or temporary employees of the Department of Education and membersservices_our.htm
Training will be covered under the school’s public liability insurance.
However, those engaged as independent contractors will not be covered
Performers can receive insurance
and must organise their own insurance. through the Media Entertainment
Arts Alliance: www.alliance.org.au/
weblinks/insurance

Taxation and Superannuation

Ausdance WA members can
receive Short Term Liability Cover
ABNs for independent projects: www.
It may be necessary for artists to apply for an Australian Business Number ausdance.org.au/resources/
(ABN). The ABN categorises you as an individual or organisation engaged insurance/shortterm_liability.html
in enterprise regardless of the size or scope of that enterprise.
Having an ABN will mean that you are able to work for schools as an
8
independent contractor and invoice them for your fees. Also, many
funding bodies will not transfer a grant to you unless you have an ABN.
This is because if you do not have or provide an ABN, you may be subject
to the Pay As You Go (PAYG) withholding tax of 48.5% which would
render the grant redundant.

GST
Registering for the Goods and Services Tax (GST) is a separate process.
It is not compulsory to register for GST unless your business is earning over
$50,000 a year. Those registered for GST need to add 10% to the fees
they quote to schools. There are also increased paperwork requirements,
including quarterly Business Activity Statements (BAS) to the Australian
Taxation Office. However, registering for GST will allow you to claim
input tax credits against the GST you pay on the costs of running your
business.

Superannuation
Depending on the basis of employment by the Department of Education
and Training, the school, or the funding body, the artist may not receive
superannuation contributions. You may need to take responsibility for this
yourself and make your own contributions. On this, and the rest of the
information in this section, we recommend you consult a professional.

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Working in Regional and Remote

Communities
Recent funding programs for artists in schools have given particular weight
to artists willing to travel to regional and remote communities. These
communities represent unique challenges and rewards for artists. Call
ahead of time and have a thorough discussion about their expectations.

Allow extra time

Be aware that travel can often take longer than anticipated – particularly
if you are driving yourself over long distances. Plans can be disrupted by
weather conditions, road closures, rogue cows, transport delays and
community events. Allow extra days and rest time between schools and
workshops.

Be flexible
Food and accommodation can be unfamiliar and more basic than you
expect. Mobile phone services may not be available or internet may be
slow or non-existent! Ask ahead about availability of services to ensure
you are prepared.

3 Be generous with yourself – you are a special visitor!

Regional and remote schools often receive few visitors and even fewer
artists, so be prepared for an enthusiastic reaction and demands on your
time not only from teachers, but students, parents and local community
To keep the benefits flowing
and maintain a presence in the groups.
school as a visiting artist, you
could:
Give local teachers skills and confidence
l send postcards to classes Many remote schools will not have specialist arts teachers and for some
on your return home;
of your contact teachers in schools, it may be the first time they have
l set students tasks and ever facilitated an arts project. You may need to spend extra time with
projects that they can the teachers to make sure they understand what you are doing and feel
report on; comfortable supporting your work with students.
l use the Internet to
correspond with students, Look for value-adding opportunities
send them images, or send
them research links; Consider whether you can work with the local artistic community by
presenting additional workshops for local arts and community groups,
l use videoconferencing or by offering them the opportunity to accompany you into schools and
or ‘Skype’ to conduct
additional ‘virtual’
develop their facilitation and presentation skills.
workshops; and

l consider building innovative Try not to just ‘fly-in, fly-out’

follow-up possibilities into Regional teachers often remark on artists in schools programs that are
your program. overwhelmingly positive experiences but make no provision for continuing
the connection and taking advantage of the new confidence acquired by
students.

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Working in Indigenous communities

In Western Australia, many regional and remote communities are
predominantly Indigenous. Protocols for working in Indigenous communities For information on visiting
Indigenous communities, contact
are much the same as going into any sort of community – it is based on the Department of Indigenous
principles of sensitivity and respect. However, there are a few points of Affairs (08) 9235 8000
particular note: www.dia.wa.gov.au
or the local Shire or Land Council.
l There may be times when it is inappropriate to travel to communities
– check before you plan visits and tours. The Australia Council in 2008
released 5 art form Protocol
l Using the name or photographs of the recently deceased may cause Guides to help Australians better
offence. Performing artists, for example, may want to check ahead to understand the use of Indigenous
cultural material.
make sure that none of the characters in their performance have similar
names to recently deceased. If so, these may need to be changed. 8
l Indigenous communities prefer a man and a woman to facilitate for
cultural reasons, unless the audience is specifically male or female. This
may be difficult to accommodate if you are an independent artist, but
companies sending more than one representative may want to keep
this in mind.
l Make contact with the Aboriginal and Islander Education Officer or To find out if the school
Aboriginal Liaison Officer at the school you are visiting. They will be you are visiting has one of
able to tell you about the community and introduce you if necessary. these staff members contact
Aboriginal Education and Training,
They may also be able to act as an Indigenous facilitator in workshops, Participation and Achievement
make sure that students understand you and you are getting your Standards Directorate:
message across.
Phone: (08) 9264 4660
l Contact the local Council of Elders or Aboriginal authority prior to Email: AboriginalEducation.Abled.
your visit. Let them know that you are visiting their lands, and make [email protected]
sure that your planned project is not culturally inappropriate. Please http://www.det.wa.edu.au/
note that some communities require a permit to enter their land. education/abled/about_us.html
l Teachers at the school you are visiting will be able to give you more
information about whom to approach and what to do when you get
8
there.

“ The success of the project this year was due to

working closely with the school Principal, tailoring
the program to suit their timetable and needs.
The program first engaged the students with
cultural dance that was fun and challenging,
then offered the opportunity to use these
skills creatively with choreography that had a
performance outcome. ”

Ausdance, Our School Our Identity project, 2006.

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NOTES

“I found the teachers supportive and open to the

writing process as an ongoing learning experience
for beginner and experienced writers and teachers
alike. It has been an exhilarating and rewarding
tour for me.”

Writer: Helene Smith, writingWA’s Writers on the Road.

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INFORMATION FOR SCHOOLS + ARTISTS

This section of the Guide contains information for both artists
and teachers to use when planning an artist in schools program.
Throughout this section, we emphasise the value of discussion
and negotiation between the artist and teacher. It is important
to make time to work together, from drafting the project brief
and budget, through the planning checklist, evaluating and
finally celebrating your unique program.

Planning Your Partnership...................... 27

Writing a Project Brief ..................................................27
Documentation ..............................................................28
Program Outcomes ........................................................28
Participation Numbers ..................................................29
Time Management .........................................................29
Session Planning ............................................................29
Materials, Equipment and Working Space .....................30
Preparatory Work .........................................................30
Orientating the Artist and School Community ..............31
Relationships and Responsibilities .................................31
FAQs ..............................................................................33
Classroom Roles ............................................................34

Financial Issues ..................................... 35

Budgeting ......................................................................35
Payment of Artists ........................................................36
Funding .........................................................................39

Meeting Policy Requirements .................. 43

Health and Safety ..........................................................43
Risk Management ..........................................................43
Public Liability Insurance ............................................. 44
Copyright and Intellectual Property ............................. 46

Planning Checklist ....................................46

Evaluation and Reflection.........................49

Yandeyarra Remote Community School, Awesome Project. ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 25
Photograph by Anne Walton.
SCHOOLS + ARTISTS

26
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Planning Your Partnership

Program
Writing a Project Brief
As you work through this section, we recommend that
you record your agreements in writing in a project brief.
A project brief is a written document signed off by all
relevant parties describing the program, detailing its
objectives and explaining how they will be achieved.
The concept or design of the program should complement the needs and
3
interests of the students involved. It should be well researched and have
involved considerable consultation between students and all partners Planning together and
prior to the program’s commencement. The brief may have to change in getting it in writing is well
response to circumstances along the way, but the project brief focuses worth the time and effort,
the energies of all involved and acts as a continual reminder of why the as this will ensure that
everyone understands the
project is taking place.
program and its outcomes
The project brief should describe: in the same way before
it commences, rather
l what sort of activity it will consist of;
than wasting time and
l what art forms will be involved; resources renegotiating
after work has begun, or
l where it will take place; arriving at an outcome
l when the program will take place; which was not really what
either party had in mind.
l stages of progress, with a timeline if appropriate;
l the contact hours of the artist and how they will be structured;
l what the intended outcomes of the project are;
l who will be involved (students, parents, teachers, principals, school
staff, artists) and what their responsibilities will be;
l what materials will be required and whose responsibility they will be;
l the budget for the program;
l a copyright agreement; and Refer to the ArtsEdge template
for a project brief on the page B1.

F
l a plan for documentation and evaluation.

Opposite: West Australian Symphony Orchestra.

Photographer: Tony McDonough.
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Documentation
Schools and artists should decide how they want to document the
program’s effects on students, teachers and parents. If an outside body
has funded your program, documentation will be required to acquit your
grant. In all circumstances, documentation is a great opportunity to record
what students did and what they produced, and a way of evaluating and
recording the outcomes of the project. Plan to document the program
from the outset and as it progresses you will not only have a record of
its happenings but valuable resources for your reporting and evaluation.
Organise to take photos or video recordings of works in progress, and
to collect other relevant material, such as students’ responses, newsletter
entries and newspaper articles about the program. Ensure you have
the appropriate image permissions and clearances well ahead of time.
Image release forms can be obtained from the ArtsEdge website at
www.artsedge.dca.wa.gov.au/7_hot.asp.

See page 49 for further Program Outcomes

information about evaluation.

F What you want to get out of the program is up to you, but the following
might help you to think about why you are doing it and what your priorities
are. It will also help you to link the outcomes of the program with selected
outcomes of the Curriculum Framework.
l Knowledge and Understanding Outcomes
What do you want students to know and understand through their
participation in this project? This might be, for example, knowledge
about a particular art form and its history, knowledge about the
particular culture from which the artist’s work is derived, or an
understanding of social issues raised by the project.

l Skills and Processes Outcomes

What will students learn to do? Are there any tools or equipment
they will learn to use, or any techniques they will develop?

l Creative Product Outcomes

Is the project structured around the production of a particular creative
product? What do you want to produce?

l Personal Development Outcomes

What do you want students to gain personally through their
participation in the project? Many artists in schools programs for
example, aim to encourage students’ self-expression and self-esteem,
and to develop a positive mentoring relationship between students
Remember too that everyone
involved in the program may and members of the non-teaching community. Or will the project
well learn or achieve things aim to give them the experience of being part of the creative process
that they did not anticipate. itself, where they can discover, imagine and explore without necessarily
This is part of creative work, needing to have an outcome?
and writing a list of project
outcomes is not to preclude
Check that everyone involved in the project understands the intended
a space in which these can
emerge. outcomes and agrees that they are worthwhile and achievable.

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Participation Numbers
l Teachers and artists should agree on the number of students
participating in performances or workshops, and the artists should be
notified in advance of any variation.
l The number of students involved should be carefully considered with
respect to the program’s aims and outcomes and the time and space
available.
l When there is not enough time for the artist to work with all the
students present, the energies and resources of the artist can be taxed
and the impact on students is limited. In many cases it will be more
valuable for the artist to work with a small group of students and build
a relationship with them.
l Teachers should inform the artist of any students with disabilities or
particular behavioural or learning requirements in advance and advise
them on what to expect and the best way to work with any issues
that may arise.

Time Management
l Decide on a start date and end date for the project. Negotiate to
schedule the project in accordance with the artist’s schedule, the
school calendar and the school timetable.
l Be realistic about what can be achieved in the available time and be
aware that it takes some time for artists, students and teachers to get
to know each other.
l If the program will be a residency or workshop, teachers and artists
should agree on a timetable of activities, with a stages-of-progress
framework if necessary. This will serve as a guide throughout the
program, allowing artists and teachers to check that it is on track.

Session Planning
Students’ time with artists is valuable and needs to be well planned in
order to get the most out of the partnership and ensure a balance is
maintained between giving young people time to discover and create as
well as achieving the project’s outcomes.
Artists and teachers should discuss:
l who will be responsible for planning the content of sessions;
l how the sessions will be run;
l whether the students will work as a whole class or small groups;
l the content of each session;
l the activities and tasks students will be asked to perform;
l the intended outcomes of each session; and
l how much involvement the teacher will have in running sessions.

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Materials, Equipment and Working

Space
Teachers and artists should write a list of all the materials and equipment
that will be required, and nominate who will be responsible for their
procurement and storage. Discuss:
l what working space the school will provide, if the artist is visiting the
school;
l any special requirements that the artist has with regard to clearing
furniture, lighting, or seating;
l additional equipment required, for example, extension cords, projector
screen, sound equipment, overhead projectors, etc;
l materials that will be required, for example, paints, photographic paper,
clay, scripts, etc;
l quantities of materials required;
l who will be responsible for buying or obtaining materials;
l where equipment and materials can be stored; and
l special clothing that students might need.
If the school will be providing materials, equipment or working space,
the teacher in charge should check beforehand that everything is in good
working order.

Preparatory Work
Preparatory work done in the classroom before the commencement of
the program creates a meaningful context for the artist’s visit. Artists and
teachers should discuss what sort of preparation that might be. Teachers
could:
l discuss the artist and his or her work with the students beforehand;
l introduce them to the relevant art form;
l show them examples of the artist’s work and explain the artist’s
background;
l explore themes and issues in the artist’s work, particularly those
relevant to the curriculum and the work currently being done in class;
and/or
l discuss the interests, skills and any access requirements students may
have that will influence the types of activities or adjustments the artist
could make for a tailored program.

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Orientating the Artist and the

School Community
Artists should have good lines of communication with the school and feel
that the school community supports and is interested in the program.
Teachers should inform all staff members of what is happening. Consider
organising a separate session for the artist to meet school staff – even
if this is only inviting them to morning tea in the staff room. This will
familiarise the artist with the school community, publicise your project,
offer opportunities for staff to ask questions and provide networking
opportunities for the artist with other teachers.
l Schools could inform parents of the project by sending notes home
or by writing an article for the school newsletter. Consider inviting
parents to volunteer to become involved in the project or observe the
outcome.
l The teacher or project coordinator should take responsibility for
looking after the artist as a guest of the school.
l Make the artist feel welcome at your school by introducing them to
staff, students and parents. Provide them with maps of the school
layout, a tour of where the staff room and toilet facilities are located,
a copy of the timetable, a copy of the school’s behaviour management
policy, and any other relevant information.
l On the artist’s first day, the teacher or project coordinator should
meet them and direct them to their working or performance space.
Alternatively, a couple of responsible students may be appointed to
‘buddy’ with the artist, helping them to carry materials and introducing
the school from their own point of view.

Relationships and Responsibilities

Duty of care The Department of Education and
Training’s Duty of Care for Students
‘Duty of care’ means a duty imposed by law to take care to minimise Policy is located at
the risk of harm to another. http://policies.det.wa.edu.au

The Department of Education and Training has a Duty of Care for Students
policy and it explains:
8
l what ‘duty of care’ means;
l how teaching staff may meet their duty of care to students; and
l the circumstances in which non-teaching staff, external providers and
volunteers may owe students a duty of care.
Generally, the artist should not be responsible for supervising students
without a teacher being present. The teacher should remain with the
students to meet duty of care requirements. It should also be recognised
that an artist in schools program provides excellent professional learning
opportunities for the teachers involved.

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Classroom management
All government schools are required to develop school Behaviour
Management Plans that are consistent with the framework outlined in the
Department of Education’s Behaviour Management in Schools Policy.
All people working with students in schools should familiarise themselves
with the school’s Behaviour Management Plan, including the processes
the school puts in place when students are misbehaving. This will ensure
consistent management of student behaviour. It is also important for
other people working in schools to be familiar with school processes to
reward positive student behaviour.
Behaviour Management in Schools
Policy can also be found by visiting
http://policies.det.wa.edu.au/

32 STEPS Youth Dance Theatre.

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FAQs
Frequently Asked Questions
From Artists
What do I do if students are behaving inappropriately?
Teachers must always maintain duty of care of their students. The classroom
teachers should be present when the artist is conducting an activity with students.
Artists should not assume any responsibility for misbehaviour – any incidents of
student misbehaviour should be managed by the teacher which is consistent with
general school management practices.

Can I discipline students?

Artists should negotiate with the classroom teacher before working with the
class how student discipline will be managed when the artist is present. The class
teacher, however, must take overall responsibility for negative consequences and
any strategies negotiated will need to be consistent with the school’s Behaviour
Management Plan.

Can I give students permission to leave the room to go to the toilet?

Artists should clarify with the teacher the school’s procedures regarding toilet visits
during class time, as many schools have standard procedures to manage student
requests for toilet breaks. An agreement should be made with the teacher about
this prior to the artist conducting an activity.

What do I do if the teacher leaves the room?

Artists should clarify with the teacher prior to commencing the program the
teacher’s whereabouts during the artist’s lessons. The artist is able to request
that the teacher remain present during the lessons and retain all duty of care
responsibilities. There should be a negotiated response plan for the artist should
a concern arise regarding a behavioural or safety issue if for any reason the
teacher is not to be in the classroom. One response may be that the artist send
a message with a student to the school’s administration staff to provide further
assistance.

For more information about school management practices you can download
the Behaviour Management in Schools Policy here: http://policies.det.wa.edu.au/
our_policies

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Classroom Roles
THE ARTIST THE TEACHER

Mentor Manage the classroom

Creator Manage student behaviour
Demonstrator Guide integration of curriculum
Instructor Assist the artist
Collaborator Supervise school property and facilities
Facilitator – work to encourage best practice Inform other teachers about the project
linked to the duty of care policy Introduce the artist to students, other teachers
Encourager and school staff
Shape students’ ideas Orientate the artist
Responsible adult – wear a school visitor badge Learn new skills and understandings
as identification and sign in and out of the
school
Liaison – with principal and teacher to discuss
project, plan and agree on activity

THE SCHOOL PRINCIPAL THE STUDENTS

Support the program Create

Receive and administrate grants on behalf of Collaborate
the school Solve problems
Manage terms and conditions under which the Listen
artist is employed Act
Supervise compliance with relevant DET Research
policies
Perceive
Promote the program to other schools and the
Brainstorm
wider community
Reflect
Educational leadership
Discuss
Educational innovation
Team work
Agree to the roles and responsibilities of the
Make aesthetic choices
artist
Respond
Play
Discover
Describe

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$
Financial Issues
Budgeting
The project coordinator, the teacher in charge of the project, or the person
responsible for acquitting grant money will almost certainly have to
produce a budget for the program.
In addition to the artist’s fees, there are other budget items you may have
to consider.

Payment of school staff

3
If the project is of a reasonable size and requires a considerable commitment
All expenditure related to the
of time and energy on the part of the project coordinator and school staff, program should be documented
this may need to be factored into the project budget. with receipts, and the artist
and teacher should be checking
Other costs may include: regularly throughout that the
budget is working.
l materials; l telephone calls;
l equipment and equipment l postage;
maintenance; l photography and processing;
l fuel and travel costs for the and
artist (for incursions) or l costs for an end of project
students (for excursions); celebration, for example, a
l morning tea and lunch for the display board, floor space or
artist; venue hire for an exhibition or
l photocopying; presentation.

Also include an amount say, 5% of your program budget, to cover contingencies.

Things don’t always go as planned, especially in creative work, so at least
you will have a little aside that you can spend without breaking your
budget.

Writing budgets for remote and regional projects

Regional and remote projects can be expensive as charter flights and
4WDs can make for substantial travel costs. Materials can also cost more
than in the metropolitan area. It is particularly important that you set aside
contingency money, as disrupted travel plans, transport delays, weather
conditions or community events can all put you behind schedule and cost
extra. However, your school may be able to obtain compensation through
funding available only to remote and regional schools.

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Payment of Artists
Negotiate the artist’s rate of pay and the payment method well in advance
of the commencement of the program. All agreements should be in writing
and clearly set out in the project brief or contract.
You will need to negotiate:
l what the basis of employment will be;

l what the rate of pay will be;

l how and when the payment/s will be made;

l what will happen if the project runs overtime; and

l what will happen if things go wrong.

Basis of employment
How will the artist be employed?
There are a number of different ways that schools can employ artists for
workshops or residencies.

3 Project Payment System

The Department of Education and Training Project Payment System allows
individual schools the flexibility to make employment contracts with artists
Schools employing artists by
who agree to carry out a particular project. The project must be a one-off,
the Project Payment System stand-alone activity and must not be of an ongoing nature – for example,
or by independent contract this would be an appropriate way to pay for a residency.
will need three quotes for
services. If you are unable to Under the Project Payment System, schools can choose to pay artists
find three artists who have through an ABN or employee ID number. Where the artist is given
the skills or experience you an employee ID number, the artist becomes a casual employee of the
are looking for, you will need Department of Education and Training.
to state this in writing and
keep the documentation for
audit purposes. Part-time Specially Organised Class Teachers (PTSOC)
Part Time Specially Organised Classes (PTSOC) support student learning
outcomes in specified areas of the curriculum where the curriculum
requires specialised expertise, knowledge and experience beyond that
usually held by classroom teachers. Access to PTSOC funding enables a
specialist instructor to be employed to deliver a particular component of
the course whilst the school-based teacher continues to deliver the major
curriculum component.
Since 2007, PTSOC funding can be accessed for short-term appointments
of up to a semester, in areas where the regular teacher lacks the specialist
skills required. Principals of secondary schools may apply for approval to
employ specialist tutors to provide tuition in Music and Dance.
For further information and to download application forms visit: www.det.
wa.edu.au/education/staffing/ptsoc.htm
Applications usually close early November for PTSOC funding the following
year. Check the website for details.

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Independent contract
Under this arrangement, the artist will not become an employee of the
Department of Education and Training but will work for themselves.
Accordingly, they must have an ABN and quote this number on an invoice
in order to be paid by the school.
The contract is made between the Minister for Education and the artist,
although school principals are able to sign on the Minister’s behalf.
A standard fixed-term contract will be available from the School’s Registrar
or Human Resources Administrator. Alternatively, the Employee Relations
branch of the Department of Education and Training may be approached
regarding a specially drafted contract for employing a visiting artist.

Rates of pay
What is a reasonable rate of pay?
This is a difficult question to answer as there are no award rates for artists
working in schools. This is because artists in schools projects are often of
3
diverse structures and durations and because artists work across a great Where artists are employed
number of artforms with varying levels of professional experience. via Project Payment or
Artists who are employed as casual tutors or PTSOC tutors by the by independent contract,
Department of Education and Training will not be able to negotiate rates as the artist and school can
these are predetermined by the Departmental salary scale. Engagements negotiate the rate of pay.
are below those normally recommended for professional artists, however
they include a 20% loading in lieu of leave and allowances. Different pay
scales may apply to non-government schools.
Rates paid to sessional tutors at tertiary institutions are a good guide
for reasonable rates. These are determined under the National Tertiary
The following organisations
Education Industry Union (NTEIU) Australian Post-Compulsory and
publish pay scales that artists and
Higher Education Academic Salaries Award. The current rates paid to teachers can use as a guide.
sessional tutors across a range of disciplines for lectures, tutorials, music
Media Entertainment and the Arts
instruction, studio coordination and demonstrations are available online Alliance WA Branch
from the websites of Western Australian universities. Generally these (08) 9227 7924 Award inquiries
range from a minimum of $30/hr to over $100/hr for experienced artists Information Desk 1300 656 512
with responsibility for designing, facilitating and realising a project. www.alliance.org.au/resources/

Artists in schools are not always paid by the hour. For project-based National Association for the Visual
engagements they are often paid a flat rate for the completion of the Arts 02) 9368 1900
project. www.visualarts.net.au

When negotiating a reasonable rate of pay, keep the following questions Australian Society of Authors
in mind: (02) 9318 0877
[email protected]
l Will the artist be paid for project planning meetings, if required?
www.asauthors.org
l Will the artist be paid for preparation time for activity sheets or setting
up materials and equipment? Australian Writers’ Guild National
l Will the artist be required to stay behind after sessions to put Toll free1300 552 228 WA Branch
(08) 9201 1172
equipment away or clean up the working space? Is time allowed [email protected]
for this? www.awg.com.au
l Will the rate of pay include leave, allowances, or superannuation?

l Will the artist be paid for any follow-up work required?

8
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Payment method
How and when will payment be made?
Discuss how the payment will be made, for example, by electronic funds
transfer, by cheque, or on receipt of an invoice. This may depend on the
basis of employment.
Discuss also when payment will be made. For residencies, the payment is
often made in two parts, the first half way through the project and the
second on its completion. Nominate the specific dates and make sure
these commitments are met.

Running over time

Having a well-organised program with good communication between the
artist and the school, is the best way to ensure that everything runs to
plan. However, it’s a good idea to discuss any additional fees that will apply
if the artist is required to work overtime or take extra classroom sessions
in order to complete the program.

When things go wrong

Unexpected circumstances do arise and sometimes the program cannot be
completed as planned. You need to have an agreement in place to decide
what will happen if the artist breaks the engagement, what will happen if
the school breaks the engagement, and what will happen if the project is
cancelled due to contingencies that neither could have foreseen.

Artsource. Artist: Si Hummerston.

38
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Funding
Is there any funding available for artists in schools programs?
For more information on writing a
A few points to keep in mind before you proceed: project budget see page B4.
l Many funding bodies will only accept applications once or twice
annually, so you will need to plan your project well in advance. F
l Most funding bodies will not fund the whole cost of a project, and will
require schools to also make their own cash or in-kind contributions.
l You will almost always be asked to submit a project budget as part of
your application.
l Funding bodies are often specific about the kind of expenses they will
and will not cover; for example, some will cover artists’ travel costs
but not the cost of materials.

Funding bodies in Western Australia

The following are some of the current funding possibilities for artists in
schools programs. For avenues supported by the Department of Culture
3
and the Arts (DCA), it is advised to contact a DCA Project Officer to
discuss the most appropriate mix of funding for your program. Regional Schools
If you currently receive
Artist in Residence (AIR) Grants Program PCAP (Priority Country
The Department of Culture and the Arts (DCA) in partnership with Area Funding) and are not
the Department of Education and Training and the Australia Council will sure how best to utilise it to
access an Artists in Schools
launch the pilot program Creative Education Partnerships: Artist in Residence
program, please contact
Initiative (AIR) in 2009. the Inclusive Education
In the first year of the AIR Grants Program, all Western Australian public Standards Directorate at The
Department of Education and
schools can apply to Stream 1 of the program for artist’s residencies Training on (08) 9264 4111
lasting a minimum of one month with a funding limit of $30,000 per
application. Priority will be given to strong partnerships between schools
(or a ‘cluster’ of schools), artists and community. For all information on
funding guidelines, including eligibility criteria, visit the ArtsEdge website
www.artsedge.dca.wa.gov.au
The AIR Grants Program will also incorporate a long-term (one year) artist
in residency project – titled Stream 2 – with a funding limit of $100,000.
An assessment panel will determine a short-list of identified DCA funded
professional arts or cultural organisations already in partnership or
offering arts in education programs in schools and invite them to submit
applications for assessment.
For more information on the AIR Grants Program, contact ArtsEdge on
(08) 9224 7300; email [email protected] or visit the ArtsEdge
website www.artsedge.dca.wa.gov.au

Short-term Artists in Residence

The Department of Culture and the Arts runs a funding category called
Short-Term Artist in Residence (STAR). Host organisations, including
schools, can apply for funding to support an artist in residence project for
a minimum period of two weeks and a maximum period of six weeks full-
time equivalent. Artists can be from any art form excluding film, television

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and radio. The host organisation must cover accommodation, materials

and other relevant expenses. The program will cover artists’ wages and
travel costs only.

Young People and the Arts Programs

Schools may also apply for funding to Department of Culture and the Arts,
The Development and Strategy
Young People and the Arts Program. This is an acknowledgement that
Directorate at the Department of
Culture and the Arts schools are often the most effective creators and promoters of arts and
(08) 9224 7310 cultural activity for young people under the age of 16. However applicant
Toll free 1800 199 090 schools must demonstrate that the proposed activity does not represent
[email protected] a formal part of the curriculum, and is not restrictive in its audience to the
www.dca.wa.gov.au
students of the school.
The Young People and The Arts funding program is dedicated to improving
access to, and participation in, arts and cultural activities for people aged
26 years and under.

Community Arts Network Western Australia Ltd (CAN WA)

Community Arts Network Western Australia Ltd (CAN WA) may be
Community Arts Network able to fund artists in schools through their Catalyst Community Arts
Western Australia Ltd (CAN WA)
Investment Fund. Catalyst can help to fund projects where people have
(08) 9226 2422 Toll free
(WA country callers only) the opportunity to participate, learn together and experience the arts.
1800 681 021 Schools can apply where the project is not part of the existing curriculum.
www.canwa.com.au/funding/ Applications from schools can be made through the two grant categories:
catalyst Category A (Discovering Community Arts) and Category B (Growing
Community Spirit).

Art On The Move

Art On The Move is a memberships based, not-for-profit organisation
Art On The Move which manages touring exhibitions of contemporary art across Western
(08) 9242 7887
Australia, interstate and internationally. Grant rounds for touring
[email protected]
www.artonthemove.com.au exhibitions occur once a year. Teachers can access the website and link
their teaching programs and projects with exhibitions in the Art On
The Move touring program. They can also subscribe to Education on
the Art On the Move website for $66 and access education resources
with extensive notes on the exhibitions for free. Free artists talks and
subsidised bus travel are also available to schools.

Country Arts WA
Country Arts WA is a source of information and funding for projects in
Country Arts WA any artform for regional schools, including artists in residence. Projects/
1800 811 883
residencies must be additional to core curriculum activity and schools
(08) 9200 6200
[email protected] must apply via their P&C or another community organisation.
www.countryartswa.asn.au
Healthway
Healthway (the WA Health Promotion Foundation) is an independent
Healthway statutory authority established through the Tobacco Control Act of 1990,
(08) 9476 7000
and funded by consolidated revenue by the Government of Western
Toll free (WA statewide)
1800 198 450 Australia. Healthway sponsors arts activities that provide opportunities
[email protected] for health promotion and access to a wide range of audiences, particularly
www.healthway.wa.gov.au young people. They will consider applications for artists in schools projects

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where there is participation by the wider community, and where the

activities are not part of a school’s core activities. Healthway also have
funding available specifically for schools through the Health In Schools
Through The Arts (HISTA) Program. Schools can apply to undertake arts
activities that explore priority health areas such as mental health and
physical activity.

The Department of Indigenous Affairs (DIA)

The Department of Indigenous Affairs (DIA) will consider applications
from schools wishing to employ an Indigenous artist/s who are interested Department of Indigenous Affairs
(08) 9235 8000 (Perth Office)
in working in schools, or from schools wishing to run programs with
1300 651 077
an Indigenous focus. The Department offers two funding programs [email protected]
- Partnership, Acceptance, Learning and Sharing (PALS) and Reconciliation www.dia.wa.gov.au
Grants. PALS Grants are aimed at expanding knowledge of traditional
Indigenous culture and lifestyle. Reconciliation Grants are aimed at
promoting acceptance and understanding between Indigenous and non
Indigenous people.
Further information, funding round dates, and application forms are
available from the DIA website www.dia.wa.gov.au

Local Government
Local government may be able to enter into partnerships with schools to
bring artists into the community. There is a lot of competition for financial Department of Local Government
and Regional Development
resources in local government, so your approach will need to be focused (08) 9217 1500
and you will need to be able to explain what you expect the community Toll free (country callers only)
outcomes for the project to be. Some local governments have a Cultural 1800 620 511
or Arts Development Officer and this will be an excellent person to [email protected]
talk to. In others however, you will need to talk to the Community www.dlgrd.wa.gov.au
Development Officer or someone else in a position not directly related
to the arts.
You may wish to partner with a ‘cluster’ of other schools in your area and
make a joint submission.
An index of Western Australian local government websites and contact
details is available from the website of the Department of Local
Government and Regional Development. This website also includes
a Grants Referral Directory for federally and state funded grants and
assistance programs for regional and metropolitan communities. There is
a section on grants for arts and cultural projects.

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Business Support or Sponsorship

There are many opportunities and imaginative ways of seeking support
Organisations such as the Australia from corporates and small and medium-sized businesses.
Business Arts Foundation provide
training for those in the cultural You may also be able to interest larger corporates, many of which now
sector to develop their own allocate funds to support community initiatives. Industrial corporates
business case to engage corporate with a strong presence in particular regional areas may be especially
partners.
Australia Business Arts Foundation
interested in supporting local schools and artists.
(08) 9211 7923 Before approaching any business for support, investigate potential business
[email protected]
partners. Plan what benefits you want to ask for and what benefits
www.abaf.org.au
you could offer. Make sure that businesses know about the objectives
Refer to the Department of of the project, the benefit to local students, and any possible exposure
Education and Training
Advertising & Sponsorship Policy
anticipated through local press, television or school newsletters.
(2001) particularly Appendix A. Local small businesses in your community may be interested in sponsoring
http://policies.det.wa.edu.au
your artists in schools program. Businesses unable to make a financial
contribution may still be able to provide support through donating
8 materials, equipment or services-in-kind.

School funding
Schools are provided with grants from Government to resource a wide
Information about Special Purpose range of activities that support their educational programs. They have
funding may be obtained from the autonomy to use the funds they are provided with in the way they
the Schools Resourcing Branch of
the Department of Education and
consider best for their students and communities. Therefore, it may be
Training (08) 9264 4773 possible for schools to use these funds for artists in schools programs,
[email protected] providing they are linked in to educational and social outcomes earmarked
www.det.wa.edu.au/education/ by the Department. Teachers can talk to their principals about whether
finance/schools/index.html their school or District Office may have available money within an existing
allocation in The Arts, Curriculum Improvement Program (CIP), Students
8 at Educational Risk (SAER), Behaviour Management in Schools (BMIS) or a
special project budget.

Fundraising
Fundraising among students, parents and the community may enable
you to cover some of the costs of an artists in schools program.
Fundraising can enthuse students and allow them to participate in the
creative direction of a program. Permission to try to raise money in this
way may need to be approved by the school’s Finance Committee, so
check first.
Be organised about fundraising. Have a provisional budget for the project
already worked out, a target amount to be raised, and a time scale
that includes a deadline for achieving that amount. You may also wish
to consider ‘in-kind’ support or donations from organisations or parent
groups for example venue hire, materials, equipment or staff.

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Meeting Policy Requirements

All schools are required to comply with State legislation such as the School
Education Act 1999 (WA) and the School Education Regulations 2000 (WA).
It is also mandatory that all government schools comply with Department
of Education and Training policies. As such, it is important that artists and
teachers discuss key issues before the project begins.

Health and Safety

Artists in schools programs should be designed to protect the health and The Employee Support Bureau
safety of artists, school staff and students. of the Department of Education
and Training is responsible for all
When a school employs an artist, the school has an obligation to ensure aspects of Occupational Safety and
their occupational health and safety, for example, by ensuring that buildings Health, employee well-being and
and equipment are sound. When an artist is working in a school as an worker’s compensation
independent contractor, there are still obligations to ensure the artist’s (08) 9264 8653
health and safety. www.det.wa.edu.au/education/hr

In their orientation with the artist, teachers should: 8

l make the artist aware of the location of first aid stations, fire
extinguishers and emergency exits;
l show the artist where first aid facilities are located and say who is
trained to use them;
l talk about the school’s smoking policy; and
l talk about what to do in case of emergency.

Artists have responsibilities too, to make sure they are not creating risks
for other staff and students in the course of their work. Artists should:
l demonstrate to students how to perform tasks or activities safely; Risk is defined as “the chance of
something happening that will
l supervise the use of flammable or toxic materials, machinery and
have an impact on objectives.
equipment; It is measured in terms of
l open a door or a window to ventilate classrooms if necessary; consequences and likelihood”.
(Australian/New Zealand Standard
l choose non-toxic materials wherever possible; and 4360:2004). Minimising risk and
l look out for stray cords or obstructions that could pose a safety risk. managing it is an integral part
of good management practice
to protect organisations from
Risk Management unpleasant surprises!

The major purpose of the Department of Education and Training is to

ensure that all government school students develop the knowledge, Schools will complete Risk
skills and confidence to achieve their individual potential and contribute Management requirements in
to society. In order to meet this purpose the Department needs to line with Risk Management Within
The Education and Training Portfolio:
ensure a safe, nurturing environment that will encourage student learning. Policy, Procedures and Guidelines
The Department is committed to protecting its students, employees, available through
assets, revenue, liabilities and the public against potential risk and has a http://policies.det.wa.edu.au
commitment to develop suitable risk management policies and procedures and may require input from artists.
that will provide for the periodic assessment, identification and treatment
of risks inherent in the operations of the Department. 8
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Public Liability Insurance

Volunteers and casual or part-time employees of the Department of
Links to resources and advice for Education and Training will be covered under the Department’s own
artists purchasing public liability
insurance are given on page 21.
insurance. Artists who work in schools as independent contractors will

F
not be covered and will need to have their own public liability insurance.
Supporting funding bodies may also require that artists going to work in
their name, regardless of how they will paid, have public liability insurance
in order to limit their liability if anything goes wrong.
The Department of Education and Training requires that artists have
cover of at least $5 million for passive activities (for example, watching
a performance or drawing) and at least $10 million for active activities
(for example, dance or physical theatre). It’s important that the artist and
teacher make sure that between them the program is covered for public
liability insurance.

Copyright and Intellectual Property

Copyright and intellectual property have become increasingly important
For more information on copyright
as it applies to artists working in
for both artists and schools to define and manage. For artists, copyright
Western Australian schools, go to protects the expressions and designs from which they make their living.
Resourcing the Curriculum pages of For schools, copyright protects learning materials produced by staff and
the Department of Education and students.
Training website: www.det.wa.edu.
au/education/cmis/eval/curriculum/ Remember, all of the following materials may be subject to copyright:
index.htm
Or contact Caroline Brasnet on Who owns the copyright on art work produced collaboratively?
(08) 9229 5255 caroline.brasnet@
det.wa.edu.au l commissioned artworks; l video recordings;

8 l collaborative artworks; l photographs of art works;

l preparatory designs and l photographs of the creative
drawings; process;
l choreography; l sound recordings;
l scripts; l set design; and
l performances; l workshop activity sheets and
other learning materials.

Legally, any art work produced in the course of a residency or workshop

where the artist is employed or contracted by the school is owned by
and copyrighted to the Government of Western Australia, through the
Department of Education and Training.
Students retain copyright ownership of their own art work and if they are
under the age of 18 reproduction of these is dependent upon parental or
guardian permission.

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Who owns the copyright on any photographs or video recordings

taken of a collaborative project?
The ownership of copyright by the Department of Education and Training
also applies to any photographs or video recordings taken during the The following links may also be
useful:
project, where the photographer is an employee of the school or has
been contracted or commissioned by the school. The Australian Copyright Council
is a non-profit organisation
Most schools will be happy for the artist to take his or her own photographs providing a range of services and
to document the project, but check this in advance particularly if students free information to artists and arts
will be in the photographs. The artist also needs to be aware that he or organisations. (02) 9318 1788
she requires permission to use these materials in a context outside of the [email protected]
classroom or workshop, for example, in their own publicity materials, or
personal website. It is recommended that the artist asks for this to be
www.copyright.org.au
8
included in the contract or project brief. There is the possibility of some The Australia Council Guide to
parents refusing permission, particularly if a student’s image is to be placed copyright and intellectual property
on a website. is available online and in print form
from the Australia Council.
Who owns copyright when art work has not been produced (02) 9215 9000
Toll free 1800 226 912
collaboratively? [email protected]
In cases where the work performed or exhibited is solely the work of www.australiacouncil.gov.au
the artist, copyright remains with the artist. For example, if an actor visits
a school to present a performance and talk to students about it, that
8
performance, including the script, set design and choreography, remains
his or her intellectual property (unless these aspects were created by
National Association for Visual Arts
someone else, in which case copyright belongs to the creators). That is
(NAVA) has copyright and moral
why artists may not be comfortable with schools making video recordings rights information on their website:
or taking photographs of their workshop. This needs to be discussed
prior to the artist’s visit.
www.visualarts.net.au
8
3
Regardless of whether the work is collaborative or not, if the artist has
been involved, they have a moral right to be credited every time the
art work is exhibited or performed, and every time photographs are
reproduced showing that art work.
Artists and teachers do need
Taking photographs of students to discuss copyright and moral
The Department of Education and Training’s recent Information Privacy and rights before the program
Security Policy means that neither school nor artist can use photographs commences. Avoid confusion
of school students outside the classroom, unless they have the written or misunderstandings by
permission of the students’ parents or guardians. This is because the new recording your agreements
generation of digital technologies potentially allow images of students to about who will own copyright
be accessed by thousands of viewers worldwide, with implications for and intellectual property in the
students’ safety and security. contract or project brief.
Schools have begun to ask parents to sign release forms once a year that
consent to possible publication of their children’s images in newsletters, The Australia Council has developed
newspapers and on the school website. a series of protocols to address the
depiction of artworks, exhibitions
If artists or organisations are interested in using images including students and publications that receive
in their publicity materials, websites or catalogues, they must ask the school government funding.
to send out another form to parents asking for release for these specific www.australiacouncil.gov.au/news/
purposes. Image permission forms for parents or guardians are available by news_items/australia_council_
releases_children_in_art_protocols
contacting by contacting ArtsEdge on (08) 9224 7300 or artsedge@dca.
wa.gov.au 8
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Planning Checklist
Are we ready to go?
! This checklist is for artists and teachers to work through together before the
project commences.

Project content
o Have we decided what the project is about?

o Have we discussed how the project is relevant to the Curriculum Framework

and developed ideas for making these connections in class?

o Have we decided what the intended outcomes for the project are, and
does everybody think they are achievable?

o Have we given students the opportunity to have input into what the
project will be, or to comment on our proposals?

o Are we agreed on the appropriateness of the project to the age group?

o Are we agreed that the project is respectful of students’ and teachers’

diversity, and that it has gender balance?

o Have we discussed any potentially sensitive or confrontational subject

matter in the work?

o Have we agreed on how and what will be evaluated/documented as part

of the program?

o Have we planned for some kind of showcase of the artwork/recognition

of students’ efforts?

People
o Has the teacher informed the principal and school administrators of the
project?

o Have we decided who will be involved (other members of school staff,

members of the community, parents?)

o Are we agreed on the number of students that will participate?

o Has the teacher discussed with the artist any students with special needs?

o Has the teacher informed the school community of the project?

o Has the teacher informed parents of the project?

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! Facilities, equipment and materials

o Have we agreed on an accessible working or performance space?

o Has the teacher checked that this space is free at the nominated time?

o Have we discussed the facilities and equipment the artist will require, and
have they checked that these are all available?

o Can the school provide the necessary equipment or will the artist use his
or her own?

o If the school’s equipment is to be used, has the teacher checked that it is in

good working order?

o Have we agreed on the type of materials to be used and the amount

required?

o Have we agreed on who will be responsible for acquiring these materials?

o Have we mutually assessed any risks that facilities, equipment and materials
pose? Have we taken steps to reduce these risks? Have we alerted students
to the risks and shown them ways to avoid personal injury or accident?

Funding and budgeting

o Is the funding for the project secure?

o Has the artist’s fee been agreed on and have we stipulated when and how
that will be paid?

o Have we drawn up a budget for the project, detailing the estimated cost of
all expenditures?

o Has everyone with authority to spend money on behalf of the project

been asked to retain all receipts?

o Have we agreed on what outcomes need to be evaluated as part of our

funding obligations?

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! Meeting policy requirements

o Does the artist have a Working With Children Check?

o Have we reviewed the relevant policies from the Department of Education

and Training?

o Have we taken steps to address Occupational Health and Safety issues?

o Does the artist have public liability insurance?

o Have we discussed the Department of Education and Training Duty of Care for
Students Policy and agreed roles and responsibilities?

o Have we discussed copyright and image permission requirements and agreed

on the rights of use for all produced materials?
o Have we completed Risk Management requirements?

The project brief and contract

o Have we nominated a specific date, or dates, on which the project will take
place?

o Have all the important agreements been written down in the project brief and
contract, if applicable?

o Have we made provision for what will happen if unexpected circumstances

arise and the project cannot go ahead as planned?

o Are all parties happy with these agreements, and have they signed the project
brief and contract if applicable?

o Have all parties been given a personal copy of the project brief and contract
to refer to throughout the program?

Preparatory work
o Have we discussed preparatory work to be done in the classroom before the
artist’s arrival?

o Has the artist provided support materials to the teacher?

o Has the artist been introduced to the school and given a map, a copy of
the timetable, or any other relevant orientation material and signing in
procedures?

o Has someone been organised to meet the artist on his or her first day and
direct them to the working space?

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Evaluation and Reflection

?
It is important for schools and artists to work together to evaluate the
project by reflecting on the results and assessing whether the desired
outcomes have been achieved. Consider the stages of the project from
start to finish and decide what worked well and what didn’t. Think about
the successes, issues and problems that you encountered along the way
and how you handled them. Apart from reporting purposes, evaluation is
a valuable learning process for all major partners and a tool for
acknowledging their contribution.

Why evaluate?
There are many reasons for evaluating a program:
l to celebrate what you have done and achieved;
l to acquit any grants received and fulfil reporting obligations to any
organisations contributing to costs;
l to generate material for school newsletters, journals and community
newspapers that will promote a positive image of your school and
project;
l to create a documented track record that will attest to your ability
when applying for grants in the future;
l to generate valuable resources for other teachers and artists wanting
to organise arts in education projects in the future;
l to give artists feedback on their work with students and give them
suggestions on improving what they are offering schools;
l to generate material that artists may be able to use in their publicity
material; and/or
l to help to quantify outcomes of artists in schools programs and assist
in arts in education advocacy.
3
Gathering information for evaluation can be carried out in a number
of ways Collecting any newspaper
or newsletter clippings, or
Consider:
noting any publicity that the
l collecting photos or video recordings of works in progress and final program received in the
products; community, is not only a
l interviewing artists, teachers and students; great method of evaluation
but will provide support for
l asking artists, teachers and students to complete a survey form or
your next project.
questionnaire; and/or
l asking students to write reports about their experience.

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SCHOOLS + ARTISTS

?
What to evaluate?
The questions you ask in your evaluation will depend on what you want
to reflect on and what the purposes of evaluation are, but the following
may help you in designing interviews or survey forms, or writing a report.

Aims and outcomes

o How successfully were the intended outcomes of the project as
expressed in the original brief achieved? You will need to address
each outcome separately and decide on the criteria you will use to
evaluate its ‘success.’
o Did we make provision for what may happen if unexpected
circumstances arose and the project could not go ahead as planned
(risk management)?
o Were there any unexpected outcomes to the project, either positive
or negative?

Resources
o Was time adequately allocated?

o Were financial resources adequately allocated?

o Were the facilities and working space appropriate?

o Were the materials and equipment adequate?

Planning and management

o Was the in-class preparation for the program adequate? Was there
further preparation that could have enhanced students’ appreciation
and involvement?
o How comprehensively were the links to the Curriculum Framework
made? How could this have been improved?
o What was the number of students involved and was this manageable?

o What was the age group of the students involved and was the
program appropriate to them?
o Were there any problems with behaviour and discipline? Were these
appropriately managed between artists and teachers?

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Relationships
o Did the artist feel welcome in the school community?

o Were there good working relationships between artists, students

and teachers? If not, how could better communication have been
facilitated?
o What did artists, students, and teachers learn from each other?

o Were other members of the community, including parents, involved

in the program, and was this positive?
o Is there anything you would do differently next time?

o What was the legacy – how are you keeping in touch to maintain the
relationship between artist and school?

What to do with your evaluation

Evaluations that are specific responses to external funding bodies will of
course need to be returned to them. But there are many other additional
ways to disseminate your valuable reflections.
o Schools and artists should both retain a copy of the evaluation for
their records.
o Local businesses or organisations that have contributed to the program
in any way will appreciate a copy of the evaluation, as it is a way of
reporting to them that they have supported a worthwhile and well-
organised program.
o You may like to send the evaluation of your program to ArtsEdge
who will be able to use it to update publications like this one and
advise other teachers and artists through the ArtsEdge website.

West Australian Symphony Orchestra.

Photographer: Tony McDonough. 51
SCHOOLS + ARTISTS

Notes

“Visiting authors provide our students with ‘the light’. It is highly

motivating for the students to see in practice what they may have
only heard for years from teachers. The students always respond well
to writing activities after visits”

Judith Duff, former GiR-Literacy Teacher Carnarvon Primary.

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CONTACTS + RESOURCES
Contacts + Resources

Bibliography

Bunbury Masks, Si Hummerston (Artsource). ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 53

PROJECT
CONTACTSBRIEFS
+ RESOURCES

54
 CONTACTS + RESOURCES

Contacts + Resources
Where can I find out more?

ArtsEdge
ArtsEdge is a strategic partnership initiative between the Department
of Culture and the Arts and the Department of Education and Training. Visit www.artsedge.dca.wa.gov.au
We support arts education by creating opportunities for partnerships and
the enrichment of skills through professional learning programs.
8
The ArtsEdge Website is an online resource for teachers and artists. It
contains information about what ArtsEdge does, professional development
courses we run, curriculum information, teaching notes, lesson ideas, arts
in education research and updates on this guide.
The ArtsEdge Guide to arts and cultural education events in Western
Australia, artsamazing, is published as a teachers’ resource. Artsamazing is also available
online on the ArtsEdge website
Artsamazing lists all arts and cultural on demand, professional development www.artsedge.dca.wa.gov.au
and special events offered by Western Australia’s leading arts and cultural
organisations. It also includes a comprehensive list of contacts; your
8
quick-find-guide to leading arts and cultural organisations, including some
national events
The ArtsEdge E-newsletter is released twice a term and contains
To subscribe visit
current arts and cultural news, information, events and professional
www.artsedge.dca.wa.gov.
development opportunities available to the education sector in Western au/2_4_subscribe.asp
Australia. and complete your details.
8
Relevant Policies of the Department of
Education and Training
Below is a list of policies from the Department of Education and Training
that are relevant for those organising artists in schools programs. Most of Department of Education and
these policies have been referred to and explained in various parts of this Training
Guide. However, if you want more information, you may want to read the (08) 9264 4111
actual policy documents. www.det.wa.edu.au

Collectively, the Department’s policies are located on the Our Policies 8

website http://policies.det.wa.edu.au that is attached to the Department
of Education and Training’s Internet and intranet websites. Each policy
has a summary description, a PDF version and a MS Word version. The
policies are reviewed periodically.

Relevant policies:
l Behaviour Management in Schools
l Design and Technology – Hazard Identification and Risk Management
Guidelines
Opposite: Pupils from Kapinara Primary School, The Kaleidoscope Ensemble.
Photographer: Paul McGovern. ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 55
CONTACTS + RESOURCES

l Duty of Care for Students

l Excursions – Off School Site Activities
l First Aid for Sickness and Accidents in Schools
l Financial Management in Schools
l Information and Communication Technologies Security
l Occupational Safety and Health
l Purchase of Goods and Services, Procurement and Contracting
l Within the Education and Training Portfolio: Policy, Procedures and
Guidelines
l Risk Management
l Visitors on School Premises
l Copyright for Schools
l Advertising and Sponsorship
l Advertising and Logo Use

Conducting Research
The Department of Education and Training policy that applies to external
parties seeking to conduct research on Department sites is called:
l Research Conducted on Department of Education and Training Sites by
External Parties

To assist researchers, the following document provides a format and

wording that meet this requirement and are consistent with the above
policy.
l Support Material for Research Conducted on Department of Education
and Training Sites by External Parties – Information Letter and Consent
Form Templates
These documents are also available for download from the Department’s
Our Policies website http://policies.det.wa.edu.au

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Professional Education Associations

Art Education Association of Western Australia (AEAWA)
AEAWA is a professional association for arts educators, specialists and generalist
teachers that aims to promote and improve the quality of art education in AEAWA
Western Australia, through the support of best practice and innovation. (08) 9370 6747
[email protected]
http://arted.org.au
Australian Council for Health, Physical Education and
Recreation, Western Australian Branch Inc. (ACHPER WA)
ACHPER WA is a professional association that promotes healthy, active
lifestyles for all Australians. It has seven areas of focus, one of which is dance. ACHPER WA
ACHPER runs annual dance workshops for primary and secondary teachers (08) 9383 7708
of dance and movement. These full day workshops are traditionally held in www.achperwa.asn.au
March and August/September each year. Dance resources are also available
from a national mail order bookshop.

Australian Band and Orchestra Director’s Association (ABODA)

ABODA is an in-service support organisation for band and orchestra directors
in Australia. It provides professional development programs, clinics, access to ABODA(WA)
new literature and support services. It also provides community access to (08) 9409 9139
directors and their ensembles. [email protected]
www.abodawa.com

Australian Society for Music Education (ASME WA)

ASME WA is a professional association for music educators from all sectors.
ASME’s primary activity is to provide training and professional development to ASME WA
its members and the wider music education community. It organises a range (08) 9203 6053
of music education events, ranging from workshop sessions to an annual two- [email protected]
day summer school held in January. www.asmewa.com.au

DramaWest – Association of Drama Educators (WA)

DramaWest is the professional association of drama educators in Western
Australia. DramaWest supports the teaching and learning of drama at all DramaWest
levels of schooling, across all sectors, through presenting regular workshops [email protected]
and seminars, and the development of publications. DramaWest also plays an www.dramawest.com
advocacy role through representation on curriculum development and policy-
making bodies.

English Teachers Association of Western Australia (ETAWA)

The ETAWA is a professional education association that serves the
interests of English teachers throughout Western Australia. They produce ETAWA
a number of publications for teachers and run an annual online competition [email protected]
for students called “What the Dickens”. www.etawa.org.au

Ausdance WA
Ausdance WA is a non-profit peak body for dance in Western Australia and
a member of the national Ausdance network. It promotes and welcomes Ausdance WA
membership from the professional, amateur and education sector. (08) 9322 6101
Ausdance WA can refer specialist dancers for workshops and performances [email protected]
in schools from its database of members of the dance community. www.ausdance.org.au

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Arts Companies and Organisations

Additional contact information for arts companies and organisations
to those listed below can be obtained from the ArtsEdge website at
www.artsedge.dca.wa.gov.au

VISUAL ARTS
The Art Gallery of Western Australia offers students the opportunity
Education Programs at the Art to interact with original artworks. A visit to the Gallery can be a starting
Gallery of Western Australia point for arts activities, visual literacy development as well as cross-
(08) 9492 6600 curricular investigation. The Gallery produces educational resources and
[email protected] information about the State Art Collection and special exhibitions.
www.artgallery.wa.gov.au

Art On The Move is a Western Australian organisation that provides

Art On The Move funding support and management expertise for the development of touring
(08) 9242 7887 exhibitions of contemporary art across Western Australia, interstate and
artmoves@artonthemove. internationally. Each Art On The Move exhibition is accompanied by an
com.au Education Package. The package has been developed to assist teachers,
www.artonthemove.com.au students and the wider community to enjoy and maximise the educational
value of touring exhibitions and to provide an easy-to-use resource for
the classroom. Art On The Move offers Smarter Than Smoking Artbus, a
subsidised bus travel program for distance or remote school groups, and
ARTIST ON THE MOVE Program which provides free exhibition artist talks
in schools and galleries.

Artsource can help you find the right artist for your project. They provide
Artsource practical support and information services to more than 2000 artists,
(08) 9226 2122 teachers, arts workers, clients and associates. Artsource coordinates
[email protected] professional development courses, manages artists’ studio spaces and
www.artsource.net.au
residencies and connects artists with clients. Artsource is a not-for-profit
organisation that works to inspire, expand and improve the sustainability
and profile of artists and the sector by providing quality service combined
with imaginative delivery. To view artists work, find out more and discover
the benefits of client subscription for your schools visit the Artsource
website.

The Perth Institute of Contemporary Arts (PICA) is Perth’s

PICA premiere contemporary arts organisation with a year-round program of
(08) 9228 6300 exhibitions, performances, screenings, studios, publications and a range
[email protected] of interdisciplinary projects. PICA provides updates to teachers via email
www.pica.org.au
of several education programs each year, including the Hatched: National
Graduate Show and national touring exhibitions.

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DANCE
Buzz Dance Theatre is a non-profit professional contemporary dance
company. The company is dedicated to facilitating creativity, immediacy and Buzz Dance Theatre
potency of live dance theatre through performances, creative movement (08) 9226 2322
workshops and teacher resources. [email protected]
www.buzzdance.com.au

STEPS Youth Dance Company is a nationally renowned youth

performing arts organisation. STEPS provides opportunities for young STEPS
dancers to work with some of the most dynamic professional artists in WA; (08) 9226 2133
choreographers, directors, musicians, technicians and visual digital media [email protected]
www.stepsyouthdance.com.au
creators. They are experienced in recommending dance professionals
to work in schools and can facilitate school residency and workshop
programs.

STRUT dance is a not for profit organisation supporting Western

Australia’s professional independent contemporary dance artists – teachers, STRUTdance
performers and choreographers. Based at the King Street Arts Centre, (08) 9321 4066
Perth, STRUT dance presents a regular annual program of in-theatre [email protected]
and studio showing seasons of new dance works. STRUT is able to refer www.strutdance.org.au
contemporary dance teachers and choreographers as well as provide a
performance program for school incursions or excursions.

Creative Writing
The Children’s Book Council WA is a volunteer-run organisation that
exists to encourage young people of all ages to read and enjoy books. It Children’s Book Council WA
promotes excellence in books for young people by supporting Australian [email protected]
authors and illustrators, enabling high standards of reviewing and supporting www.cbc.org.au/wa
schools and public libraries in their efforts to encourage young people to
read and enjoy quality literature. The Children’s Book Council WA runs the
annual Children’s Book Week and Make Your Own Story Book Competition.

The Fremantle Children’s Literature Centre is a non-profit

organisation that runs interactive literature/literacy workshops for primary Fremantle Children’s
and secondary students in rural and metropolitan regions. The Centre is Literature Centre
experienced in recommending and organising local and interstate authors (08) 9430 6869
[email protected]
and illustrators for Artist in Residence programs in your schools.
www.fclc.com.au

writingWA is the peak body for writing and associated activities in WA

and seeks to advance the collective interests of member organisations and writingWA
the literary sector in WA. It conducts annual tours of writers, provides (08) 9228 9908
advice and information on planning writing events, assists in locating [email protected]
writers, conducts development programs and generally acts as a contact www.writingwa.org
point for the State.

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DRAMA
Barking Gecko Theatre Company creates inspirational and
Barking Gecko provocative theatre for young people and their families. Barking Gecko is
(08) 9380 3080 a not-for-profit organisation with a national and international reputation
[email protected] for excellence. Programs include: school incursions, in-theatre school
www.barkinggecko.com.au
seasons, regional and national touring, in-school workshops, professional
development workshops, writing projects for young people, community
development programs and public performance seasons.

Black Swan State Theatre Company is a non-profit theatre

Black Swan State Theatre company producing world-class theatre communicating unique stories to
Company the Western Australian community. The company’s Youth and Education
(08) 6389 0311
program aims to make theatre accessible to young people and the wider
[email protected]
www.bsstc.com.au
community by providing in-school workshops and programs.

WA Circus School is a non-profit association dedicated to teaching

WA Circus School circus skills as well as conducting community and youth arts projects.
(08) 9335 5370
WA Circus School can conduct workshops in a range of circus skills from
[email protected]
primary school to professional standard. Workshops can be one-off, a
www.circuswa.com
series and/or a complete program culminating in a performance by the
students.

Spare Parts Puppet Theatre has been producing innovative,

Spare Parts Puppet Theatre educational and entertaining theatre for young people for the past
(08) 9335 5044 20 years. The School of Puppetry comprises puppet making and
[email protected] performance workshops and is tailored for primary and secondary
www.sppt.asn.au
students in metropolitan and regional schools.

Western Australian Youth Theatre Company (WAYTCO)

WAYTCO develops and presents drama and theatre with, by and for young
(08) 9226 2144 Western Australians in collaboration with a dedicated team of theatre
[email protected] arts professionals. WAYTCO has more than 200 members aged 15 to
www.wayouththeatre.org.au
25 years who participate in the annual program which targets a large and
diverse audience, including students, young people, the corporate sector,
arts and special interest groups and the general public. WAYTCO runs a
year round acting workshops for young people aged 12-16 and matinee
performances for secondary drama students.

Yirra Yaakin Aboriginal Corporation is Australia’s leading Indigenous

Yirra Yaakin theatre company, providing a proactive means of engaging Indigenous
(08) 9202 1966 participation through training and community development. Performances
[email protected] are the product of collaboration with emerging and professional artists,
www.yirrayaakin.com.au and incorporate traditional and contemporary art forms. Performances
are available as incursions and excursions, and are accompanied by
extensive education packages. Yirra Yaakin runs a workshop program and
can employ expert facilitators to cater workshops specific to your needs.

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MUSIC
Musica Viva In Schools is a comprehensive music education program
that combines professional development for teachers, classroom resource Musica Viva
materials for use in primary classes and interactive concerts by professional (08) 9286 2780
musicians in schools. It is used widely in WA by specialist music teachers, [email protected]
arts teachers and generalist classroom teachers in metropolitan and www.musicaviva.com.au
country schools throughout the state.
The Western Australian Music Industry Association (WAM) is
a non-profit association for the development of the Western Australian WAM
contemporary music industry. Services include: concert incursions with (08) 9227 7962
professional artists of all styles delivering a performance and workshop; [email protected]
introductory song writing and recording workshop incursions and www.wam.asn.au
professional development sessions for teachers.
West Australian Opera is a non-profit organisation producing world-
class opera for Western Australian audiences. The company is committed West Australian Opera
to education by giving young people, and the wider community, an (08) 9278 8999
opportunity to experience the passion and drama of opera with Smarter [email protected]
Than Smoking Opera in Education workshops for primary schools and www.waopera.asn.au
behind-the-scenes workshops and schools touring to metropolitan and
regional Western Australia.
The West Australian Symphony Orchestra presents orchestral
performances for school students and the general community. WASO’s West Australian Symphony
education program includes webcasts and performances for primary, Orchestra
middle and senior school students. It provides teachers with resource notes (08) 9326 0022
containing pre and post concert activities linked to the Curriculum Framework. [email protected]
The Education Chamber Orchestra (EChO) tours to regional centres www.waso.com.au

MULTI-ARTS
Access Asia is a national program funded by the Asia Education Foundations
and the National Asian Languages in Australian Schools Strategy, and is run Access Asia
through DET in WA. It aims to promote the Studies of Asia in schools and (08) 9264 4249
links learning across the curriculum. In the Arts, Access Asia can provide [email protected]
access to teaching and learning materials with strategies and activities with www.det.wa.edu.au/education/
an Asian focus and provide advice on resource access, cultural incursions accessasia/index.html
and events.
Awesome Arts Australia Ltd (Awesome) is a not-for-profit Western
Australian arts company that presents unique creative programs and an Awesome
annual international contemporary arts festival for young people and (08) 9485 0560
their families. Since 2000, Awesome has been running the Smarter Than [email protected]
Smoking Creative Challenge, which places artists in regional communities www.awesomearts.com
and metropolitan schools across Western Australia to facilitate the
creation of works by young people.
The Community Arts Network Western Australia Ltd. (CAN WA)
exists to grow partnerships with, and provide training for communities, CAN WA
artists, government, community service organisations and businesses to (08) 9226 2422
contribute to sustainable community cultural, social, environmental and Toll free (for country callers)
1800 681 021
economic development. CAN WA is able to refer schools to its register
[email protected]
of artists. CAN WA is also a registered training organisation and conducts www.canwa.com.au
accredited and non-accredited courses that are suitable for teachers.

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Disability in the Arts, Disadvantage in the Arts Australia WA

DADAA WA
(08) 9430 6616
(DADAA WA) is a multi-arts organisation that provides a state-wide
[email protected] program of arts development and arts and health services for people
www.dadaawa.org.au with disabilities and/or disadvantage. These programs cater to the artistic
development and social and cultural participation needs of more than
2000 people annually.

KULCHA specialises in developing, fostering and promoting world

KULCHA cultures in Western Australia. KULCHA provides access to information
08) 9336 4544 about multicultural arts and artists. The organisation presents a wide
[email protected]
range of cultural development activities from world music concerts
www.kulcha.com.au
and carnivals to workshops for schools and community groups, that are
delivered in a fun way by encouraging interactive participation and story-
telling.

Propel Youth Arts WA provides state-wide youth arts information,

Propel Youth Arts WA support, networks, skills development and a collective voice for young
(08) 9328 5855 creative people. They have an informative website and fortnightly
[email protected] electronic ’zine that includes resource guides to working with young
www.propelarts.org.au
people in the arts. Their website also includes a Creative Profiles section
in which you can browse information posted by young artists.

Other Resources
Australia Council for the Arts is the Commonwealth Government’s
Australia Council for the Arts arts funding and advisory body. The Australia Council supports and
(02) 9215 9000 promotes the practice and enjoyment of the arts, and plays a key role in
Toll free 1800 226 912 arts and cultural development Australia-wide. The Council has a strong
[email protected] focus on arts education and is currently undertaking significant research
www.australiacouncil.gov.au into the outcomes of school-based arts programs. In 2008 The Australia
Council announced Creative Education Partnerships: Artist in Residence
Initiative (AIR), which will support artists in school and university activity
across Australia with 5.2 million dollars in funding over four years.

Young People and the Arts Australia (YPAA) is the national peak
YPAA membership organisation dedicated to supporting and promoting increased
(07) 3216 0007 participation and appreciation of the arts for children and young people.
[email protected] Its membership includes individuals and organisations working in the young
www.ypaa.net people and the arts sector across all areas of artform practice. YPAA is
committed to providing access to the arts for children and young people
and is the Australian link to ASSITEJ International (Association of Theatre
for Children and Young People).

62 ––––––––––––– ArtsEdge : ARTISTS IN SCHOOLS GUIDE

PROJECT BRIEFS PROJECT BRIEFS

PROJECT BRIEFS
B1 Project Brief

B2 Project Outcomes
+ Evaluation Planning

B3 Project Plan

B4 Project Budget

B5 Copyright Agreement

This Page: Pupil from Kapinara Primary School, The Kaleidoscope Ensemble.
Photographer: Paul McGovern.
Next Page: Mt Hawthorn Junior Primary School, 2004 Wakakirri.
9
Photo courtesy: School Matters. ArtsEdge : ARTISTS IN SCHOOLS GUIDE ––––––––––––– 63
PROJECT BRIEFS

64
10
 Sample Project Brief PROJECT TITLE: DESCRIPTION:
Time Schedule Expected Start Date: Expected End Date:
Location/venue
Artist/s
School Coordinator
Students/Classes involved
Links to School Priorities
Key Outcomes Student Learning: Arts: Community: Funder/s:

Indicative Budget $ Project funder/s: Other income:

Artist’s Fees The school agrees to pay the artist fees for the residency totalling $ (payment schedule to be attached)
School’s Expenses £ Travel £ Materials £ Accommodation £ Meals £ Other
Artist’s Expenses £ Travel £ Materials £ Accommodation £ Meals £ Other
Facilities, Equipment and Materials Supplied by school
Facilities, Equipment and Materials Supplied by artist/s
Evaluation The artist and school will each submit an evaluation report to ______________________ within______________ of completion of project.
Legal and Compliance £ Working with Children Check presented? £ Copyright Agreement attached? £ Image release forms discussed?
£ Risk Management discussed £ Duty Of Care responsibilities discussed? £ Health And Safety issues discussed?
£ Student work forms discussed?
Public Liability Insurance cover for the project will be obtained by ________________ and paid for by__________________________
Insurance of Artists property is the responsibility of _________________________________.

Name Signature Date

Artist/Arts Org Rep:

ArtsEdge : ARTISTS IN SCHOOLS GUIDE

School Coordinator:

–––––––––––––
School Principal:
B1 Project Brief

B1
B2
Sample Project Outcomes PROJECT TITLE:

+ Evaluation Planning

–––––––––––––
Outcome/s Performance Evaluation When
Indicators Method

School

Student

ArtsEdge : ARTISTS IN SCHOOLS GUIDE

Learning

Artists
B2 Project Outcomes + Evaluation Planning

Community

Sponsor/
Funder

Name Signature Date

Artist/Arts Org Rep:
School Coordinator:
School Principal:
 Sample Project Plan PROJECT TITLE:

SCHOOL COORDINATOR: ARTIST:

No# TASK Duration (work days) Start Date Finish Date Who?

Name Signature Date

ArtsEdge : ARTISTS IN SCHOOLS GUIDE

Artist/Arts Org Rep:
School Coordinator:

–––––––––––––
School Principal:
B3 Project Plan

B3
B4
Sample Project Budget for Artists PROJECT TITLE:

–––––––––––––
SCHOOL COORDINATOR: ARTIST:

TASKS Labour (Int) Labour (Ext) Materials Equipment Others GST Total
$ (or hrs) $ (or hrs) $ $ $ $ $
B4 Project Budget

ArtsEdge : ARTISTS IN SCHOOLS GUIDE

Name Signature Date
Artist/Arts Org Rep:

School Coordinator:

School Principal:

Teachers will complete project costings through the relevant pricing worksheets
 Copyright Agreement PROJECT TITLE:

Who owns the copyright on art work produced collaboratively? Who owns copyright when art work has not been produced collaboratively?

Legally, any art work produced in the course of a residency or workshop where the In cases where the work performed or exhibited is solely the work of the artist,
artist is employed or contracted by the school is owned by and copyrighted to the copyright remains with the artist (unless these aspects were created by someone else,
Government of Western Australia, through the Department of Education and Training. in which case copyrights belongs to the creators.)
Students retain copyright ownership of their own art work and if they are under the
age of 18 reproduction of these is dependent upon parental or guardian permission.
Taking photographs of students/ using images of student art work

Schools and artists can not use photographs of school students and /or images of their
work outside the classroom unless they have the written permission of the students’
parents or guardians.

We the undersigned agree that:

Name Signature Date

Artist/Arts Org Rep:

School Coordinator:

ArtsEdge : ARTISTS IN SCHOOLS GUIDE

School Principal:

–––––––––––––
B5 Copyright Agreement

B5
 Notes

“Thank you for the wonderful work you did with our students.
The initial performance from the String Quartet was a “hit” with
the children and set the tone for some wonderful workshops.
Your assistance in workshops with the children ensured that
we stayed on track and enhanced the work being done with
the teacher. I have had very positive feedback from both the
children, staff and parents on how worthwhile this activity was.”

Carlyn Dyer, Principal, Glen Forrest Primary School’s Artists in Schools

Program with The Kaleidoscope Ensemble, July 2006.

70 ––––––––––––– ArtsEdge : ARTISTS IN SCHOOLS GUIDE

Rabbit, Buzz Dance Theatre
Photographer: Jon Green 71
72 Awesome – Two Goanna’s, Rawa Remote Community School, Punmu, 2006.
AWESOME Smarter Than Smoking Creative Challenge, Photographer: Bec Juniper.
ISBN: 978-0-7307-4304-0
SCIS: 1408819
© Department of Culture and the Arts, Department of Education and Training 2009.
The Artists in Schools Guide may be reproduced for educational purposes within an
educational institution in Western Australia subject to the inclusion of an acknowledgement
of the source and no commercial usage or sale. Requests and inquiries concerning
reproduction and rights should be addressed to ArtsEdge, Department of Culture and the
Arts, PO Box 8349, Perth Business Centre, Western Australia 6849.

Disclaimer
The information provided in this guide was correct at the time of printing but circumstances
may change. ArtsEdge will endeavour to post all relevant updates to the guide online at
www.artsedge.dca.wa.gov.au
Links to organisations outside of the Department of Culture and the Arts and the
Department of Education and Training do not constitute an endorsement of those
organisations or the quality of their programs, products and services.
This guide provides only general advice. Readers should seek professional and specialised advice
for their individual situations.

Assistance for people with disabilities

This publication can be downloaded electronically in PDF format via
the ArtsEdge website www.artsedge.dca.wa.gov.au and can be made
available in alternative formats including audio CD/ cassette, Braille

*
and large print, on request.

Acknowledgements
The first edition of Artists in Schools 2007–2008 involved considerable research into
professional practice related to arts in education processes.
The Department of Culture and the Arts would like to thank the many artists, arts
organisations, teachers, principals, parents, students and administrators who contributed
to the original edition and who have contributed new material.
The Artists in Schools Guide works with partnership at its core and this publication would
not have been possible without the ongoing learning achieved through current best
practice in this field.
Artists in Schools – The ArtsEdge Guide for artists and teachers in Western Australia –
reprinted March 2009.

Buzz Dance Theatre at Greenmount Primary School

Photographer: Maya Kanamori
 artists in schools

artists in schools
This Guide has been produced by ArtsEdge, a partnership initiative of the Department of Culture and the
Arts and the Department of Education and Training. ArtsEdge supports the best possible arts experience
for young people in schools by establishing and maintaining communication networks, developing
partnerships, and disseminating information, research and resources.

The Guide can be downloaded electronically in PDF format via the ArtsEdge website.
www.artsedge.dca.wa.gov.au or a hard copy version is available on request.

Enquiries or comments may be directed to:

ArtsEdge
Department of Culture and the Arts The ArtsEdge guide for
ISBN-13 978-0-7307-4305-7
Department of Education and Training
(08) 9224 7300 Toll free 1800 199 090 (within WA)
artists and teachers in
PO Box 8349
Perth Business Centre
Western Australia
Western Australia 6849 9 780730 743057

[email protected] www.artsedge.dca.wa.gov.au