The importance of training as a teacher in the arts is often under-valued – to the detriment of our sector, says Maricia Klincke
Many of us reading this article know the value of experiencing the arts first hand. It is no surprise, therefore, that at some point in our careers we may have a desire to share that experience with others through teaching. But teaching is an artform in itself, that involves dedication, determination and planning, and to train as a teacher is to embark on a whole new period of learning and career development. I continue to be astounded when creative artists endeavour to pass on their artistic skills to others without considering that they should perhaps learn how to do it first. Knowing an artform inside-out does not automatically qualify someone to teach it to others.
qualities such as compassion, empathy, good communication, ability to compromise and determination are important
The Musicians Union states that of their 33,000 members, 6,000 are registered in the teacher’s section. However, they estimate that close to 75% of their members include teaching as part of their portfolio career. There is no official data to confirm how many of those involved in teaching in the non-formal sector hold any teaching qualification or have received teacher training of any kind, although it is widely believed that few hold any kind of formal teaching qualification.
This is recognised further in the National Plan for Music Education, which calls for more specialism and expertise amongst music educators across the board. It identifies gaps in qualification for music teachers at primary level, which it addresses through the introduction of primary music modules into Initial Teacher Training. It also identifies a need for professional development and suitable qualifications for those working outside of the formal education sector, in response to which Arts Council England and CCSkills are currently developing new qualifications for creative practitioners and music educators (1).
So what makes a great music teacher? Alongside excellent subject knowledge, qualities such as compassion, empathy, good communication, ability to compromise and determination are important. But for me there are four elements that really make a difference:
Real-life experience: There is nothing more valuable than first-hand experience that can be passed onto students through well planned lessons and creative learning experiences.
Self-awareness: All teachers should be reflective practitioners, so that they can identify and work on areas that need attention and really capitalise on their strengths.
Personality: Really great teachers often have that little extra spark to their personality that lets them move from simply teaching to inspiring.
Quality training: We wince at the thought of allowing untrained teachers to lead school classrooms, so why is the same rigour not applied to teaching in the arts sector? A number of key skills and techniques can make a big difference to the quality of teaching, and these can be learned.
Gaining an understanding of teaching and learning theory is vital. This is best done by putting theory into practice quickly in a supported environment with ongoing mentoring, offering the opportunity to try things out and, at times, fail. Anyone can learn the techniques and theory behind teaching, but the ability to use them effectively comes with practice.
A clear understanding of relevant policy is also essential, including child protection, health and safety in the classroom among others. However, the most recent report from Ofsted(2) into music education in schools states that there is often not enough music in music lessons because teachers are having to focus too much on assessment and other non-music issues. Whilst this is an essential part of training to become a music educator, it is important not to become bogged down in the quagmire of policy and lose focus on the skill of teaching itself.
Learning to teach is also about re-learning something from the point of view of a teacher, so that you are able to teach it to others with clarity, discarding any previous experience or skill and approaching music making from a fresh unlearned perspective.
Many trainee music educators are already involved in music teaching in one form or another when they decide to undertake formal training. This is usually informal, one to one instrumental teaching, or perhaps working in a youth club leading informal activities. For those people, the difference in their teaching after completing formal training is more than evident. Graduates find a new confidence in their teaching, which becomes rooted in theory and practice, rather than experimentation and trial and error. They enter teaching situations knowing they are armed with the theory and experience they need to successfully deal with the variety of challenges they may face, and confident that the sessions they deliver are valued and effective. A training programme enabled one musician who had little practical experience of teaching to the point where they were able to devise and run a year-round programme of production training in partnership with a local youth centre; and another developed the confidence in their skills to such an extent that they were able to run regular music provision in a local Pupil Referral Unit, one of the most challenging teaching situations a tutor can face.
We as teachers are in a privileged position. We have the power to influence people for life, and this privilege should not be taken lightly. A negative experience can influence a student’s future enjoyment of the arts to such an extent that they choose not to partake further. It is the responsibility of the tutor to open learners up to the endless possibilities and experiences that the creative arts have to offer. If we don’t, then our students may as well read a book or watch an instruction video . Teaching is not a ‘how to’ occupation. A good teacher first arms their student with skills and then opens up a whole world of possibility by enabling them to employ those skills to a creative end themselves. How can we hope to bear this responsibility and do our job well without learning how to do this first?
Maricia Klincke is Managing Director of CM, a community music organisations based in East London. CM offers training programmes which focus on creative production, arts and music leader training, and performance and composition
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