Project Title: Good practices in music - for social inclusion
Project Start Date: 2020-12-31
Project Total Duration: 12 months
Project End Date: 2021-12-30
Project ID: 2020-1-HU01-KA229-078829
Summary of the project:
Our project is built around exchanges of best practices between a CZ and a HU school of music, to liven up music education, and thus to lessen early school leaving, our basic problem here.
It affects 80-90% of the HU school’s pupils, and to a lesser extent, but it is also present at the CZ school.
Both Kraslice (CZ) and Miskolc (HU) are in countries of the former socialist block. They both faced economic difficulties during the economic transition (from the 1990s). Miskolc is a former centre of heavy industry, Kraslice’s area was “the” manufacturer of music instruments for the COMECON. With the collapse of the socialist market, both cities suffered severe economic setback, with unemployment rates soaring – and the production is still struggling to find a new equilibrium and productivity.
Naturally, this affects pupils as well – there are many living in economically disadvantaged circumstances/poverty.
We met through informal channels (via a renowned clarinet artist), and during discussions we found that we are both working towards the same aim (to further our pupils’ interests through motivating them), by different methods. We decided to find a way to compare and exchange our best practices.
Our main priority is contribution to the lowering of early school leaving %, and the secondary objective is strenghtening the profiles of the teaching professions.
We also took on the topics Disadvantaged children and Creativity and culture.
Through the exchange of best practices we can offer our teachers knowledge about music education as a tool to make school more attractive, and to make pupils stay in the system till the end of their elementary studies –lowering the early school leaving %.
By the new techniques/methods and knowledge about ways of combating early school leaving we also contribute to the strengthening of the teaching professions’ profiles.
Creativity and culture are naturally linked with music education; and the majority of our participating pupils will be of disadvantaged circumstances – the project can serve both as a direct stimulus to them, towards staying on board with their studies, but through the combined best practices we can act in the interests of further disadvantaged pupils as well.
Our direct participants will be staff and pupils from both schools, taking part in the project events.
We plan to include 2*5 staff members in the short-term staff learning activities as travelling staff, and about 20-25 more per school as receiving staff.
2*13 pupils will travel through short-term pupil exchanges, with 2*5 staff members accompanying them. We’ll encourage as many of the “local” pupils as possible to participate as well (the school’s population taken into account in this project are 500 and 600 respectively).
Indirect participants include parents, friends and the wider public, at the pupil concerts – and the professional staff of further schools reached through dissemination.
We plan 2 short-term staff trainings and 2 short-term pupil exchanges, concerning 2*5 staff, 2*13 pupils and 2*5 accompanying staff.
We also plan 14 other project activities throughout the period, with entry/exit/in between measuring; preparation for the exchanges, relying the experience to colleagues, fusing the best practices, evaluations, dissemination, and of course the managing of the whole.
We’ll get acquainted with each other’s best practice in a preparation period and through training occasions in person.
We’ll offer our staff to widen their knowledge, strengthen their methodology base, gain insight into the two countries’ music education systems.
Better prepared teachers can better implement the best practices acquired, they can also contribute towards the fusion of these, to form a new incentive tool that can help lowering the early school leaving %.
The pupils will go through a preparation period too, to get cultural, social and linguistic knowledge that can make their exchange more successful. By performing at 2 concerts during the exchanges, they will also enhance the cultural aspect of the project, and help raising awareness.
Their participation in the project will also be a motivation for them, to study.
- 2 short-term pupil exchanges (with 1 joint concert each)
- 2 short-term staff exchanges (with 1 best practice each, plus a joint course)
As a short-term result, we expect to amplify our teachers’ knowledge.
On a mid- to long term timescale we expect all these to contribute to the lowering of early school leaving % in both our schools.
We expect a change of attitude from the participants.
On the longer term we want to build into our school's work plans the new tools/best practices (after elaboration and fine-tuning).
We also wish to continue working on the fusion of the two best practices into a nation-level system of incentives through music education.