The Power of Creative Youth Work
The Cultural Learning Alliance (CLA) is a passionate advocate for ensuring all young people have access to high-quality arts, culture, and creative opportunities. At the heart of this mission is recognizing the transformative impact that creative youth work can have on the lives of young people.
As an experienced educational writer, I’m honored to share insights from two inspiring practitioners working within the youth sector – Tina Ramdeen from the Roundhouse in London, and Kirsty Gbasai, a community artist in Bolton. Their perspectives shed light on the incredible work being done to empower young people through the arts.
Embedding Youth Work in Creative Settings
Tina Ramdeen, Associate Director of Young People at the Roundhouse, reflects on the organization’s unique approach of fully integrating youth work within a renowned cultural venue. “Rather than see youth work as a discrete service that is bought-in or bolted-on, youth work is an intrinsic part of our work, embedding an in-house team of youth work practitioners, mentors and peer groups, alongside high quality creative practice,” she explains.
This holistic model allows young people to feel safe, thrive, and have their voices heard within a vibrant artistic environment. As Tina shares, “It’s within these moments engulfed in creativity that youth work is amplified to connect the reality of a young person’s ‘now’ to their dreams/potential of their future.”
By blending the expertise of youth workers and creative professionals, the Roundhouse empowers young people to develop essential life skills, explore their passions, and build a sense of identity and independence. Notably, the organization’s youth governance structure ensures that young people are actively involved in shaping the Roundhouse’s direction and championing their perspectives.
The Transformative Power of Art
Kirsty Gbasai, a creative practitioner and community artist, shares her experience working at BLGC, a youth center in Bolton. She emphasizes the profound impact that arts and creativity can have on young people’s mental health and wellbeing.
“Making a mess is always encouraged in my art room. It opens a conversation where I can ask a young person, ‘How are you feeling?’ It helps them become aware of their emotions; they’ll talk about them and grow an understanding of why they feel that way instead of ignoring it. They can also see that something positive and beautiful can be created from their negative emotions.”
Kirsty’s approach recognizes the inherent value of creative expression as a means of self-discovery and emotional processing. She speaks passionately about challenging the misconception that art is only for those with exceptional talent, emphasizing that “engaging in art isn’t about becoming a famous artist, it’s about using creative energy to express yourself and the art is a result of that expression.”
Through BLGC’s “Try, Train, Team” framework, young people are encouraged to explore a wide range of creative activities at their own pace, developing their skills and confidence along the way. Kirsty has witnessed firsthand the transformative impact of this approach, sharing the story of a young person who went from being isolated to thriving, finding community and a sense of purpose through his artistic talents.
The Evolving Landscape of Music Education
While the CLA’s focus extends far beyond the realm of music, it’s important to acknowledge the parallel developments in this crucial creative discipline. The past few years have seen significant changes in the way music education is structured and supported across the UK.
National Plans and Funding Shifts
In 2022, new National Plans for Music Education were introduced in Wales, England, and Scotland, each reflecting a recognition of the vital role music plays in supporting students’ academic, social, and emotional development. These plans have been accompanied by varying levels of funding and implementation strategies.
As Bridget Whyte, Chief Executive of Music Mark, explains, “In 2022, a strategy for music education in Scotland was published which resulted in significant funding for free instrumental tuition for Scotland’s state school pupils.” Meanwhile, in England, the National Plan for Music Education has faced some challenges, with concerns raised by the Independent Society of Musicians (ISM) about the structural changes to the Music Education Hubs partnership framework.
Deborah Annetts, CEO of the ISM, highlights the organization’s ongoing advocacy efforts, stating, “The ISM continues to campaign on behalf of Music Hubs and those who work in them to the new Labour government.” These developments underscore the importance of robust and sustainable support for music education, ensuring equal access for all young people.
The Role of Music Hubs
Music Hubs, established as part of the original National Plan for Music Education in 2011, have played a central role in delivering music education across England. However, the recent reorganization of these Hubs, reducing their number from 114 to just 43, has been a source of significant debate and concern within the sector.
As Bridget Whyte explains, “The change has been the subject of much concern, debate, and even an Education Select Committee session in May. The DfE outlined within their Plan that they wanted Hub Lead Organisations to act more strategically, supporting musical learning across larger geographic regions. The music education sector is yet to be convinced that reducing the number of Hubs will work.”
The ISM has voiced its own reservations about the changes, highlighting the lack of evidence to justify the decision and the potential challenges in maintaining the level of support and accessibility for young people. Deborah Annetts emphasizes, “Despite a consultation process where most respondents favoured a larger number of Hubs, the DfE and Arts Council England (ACE) ignored these responses and pressed ahead with their clearly preferred option of slashing the numbers to almost a third.”
As the sector navigates this period of transition, it will be crucial to monitor the impact on young people’s access to high-quality music education and to ensure that the vital work of Music Hubs continues, regardless of structural changes.
Ensuring Equitable Access to the Arts
Ultimately, the work of the Cultural Learning Alliance and the insights shared by Tina Ramdeen and Kirsty Gbasai underscore the fundamental importance of providing all young people with access to arts, culture, and creative opportunities.
As Tina emphasizes, “Equality of access to arts and culture is essential for personal, social and emotional development, providing young people with skills for life and for work – it cannot be contained entirely by the rigour and restrictions of formal education.”
Kirsty echoes this sentiment, lamenting the reality that “so many children miss out on access to art and culture due to lack of opportunity, financial reasons or feeling that they aren’t ‘good at art’ at school and that art isn’t for them.” She passionately believes that “every child should have the chance to engage with culture and to use their creativity to express themselves through art making, as it offers enormous benefits to overall confidence and well-being which has an impact on all areas of life.”
These perspectives shine a light on the vital role that the arts play in supporting young people’s holistic development, fostering their social and emotional skills, mental health, and sense of identity. By championing the integration of high-quality creative opportunities within educational and community settings, the CLA and its partners are working tirelessly to ensure that every child and young person can access the transformative power of the arts.
To learn more about the Cultural Learning Alliance’s work and how you can get involved, please visit their website at https://www.culturallearningalliance.org.uk/. Together, we can create a future where the arts are a fundamental part of every young person’s journey.
