Barbican Guildhall’s dedication to inclusive education has been notably acknowledged with the SEND Achievement Award, which represents a paradigm shift in the use of the arts in special education. Their collaboration with The Garden School, a Hackney-based school for four to sixteen-year-old autistic students, has resulted in a model that is not only incredibly successful in promoting student development but also profoundly transforming for teachers, families, and the larger artistic community.
Students who frequently encounter obstacles in conventional learning settings are now expressing themselves in ways that were previously unthinkable thanks to a creative lens. This initiative’s strategic partnership with Drum Works, an ensemble whose rhythm-based workshops inspired even the most reticent students to participate enthusiastically, is one of its most notable aspects. These lessons were very successful in helping students develop their musicality and confidence, two qualities that are frequently disregarded in standardized education but are vital for growth.
Project Overview – Barbican Guildhall SEND Programme
| Programme Name | Barbican Guildhall Creative Learning – Associate Schools SEND Programme |
|---|---|
| Award Received | SEND Achievement at National Creative Learning Awards |
| Partner School | The Garden School, Hackney |
| Student Age Group | 4 to 16 years |
| Focus | Creative inclusion for learners with autism |
| Year of Project | 2017–2018 Academic Year |
| Total Students Involved | 56 |
| Total Staff Engaged | 48 |
| Number of Projects Delivered | 9 |
| Total Contact Hours | 1,400+ |
| Lead Organisation | Barbican Guildhall School of Music & Drama |
| Supporting Group | Drum Works |
| Notable Outcomes | Improved confidence, family engagement, expanded access to the arts |
| Official Website | www.barbican.org.uk |
Surface-level interventions are not the foundation of Barbican Guildhall’s Associate Schools model. This three-year commitment guarantees that arts education is integrated into all levels of education at schools like The Garden. This significantly enhanced framework provides specialized assistance that is exactly in line with the needs of each student and the school’s culture. The Garden School was able to reach over 100 participants and engage them for over 1,400 contact hours through nine distinct projects in a single year. The magnitude and constancy of the partnership are demonstrated by that number alone.
The impact, according to Pat Quigley MBE, Head of The Garden School, was particularly evident: students were developing critical life skills, such as autonomous decision-making and teamwork, in addition to flourishing artistically. In this situation, creativity evolved into access rather than just expression. It gave kids a framework to experiment with communication techniques that best suited their learning preferences.
Long-term engagement is crucial, as Jenny Mollica, Interim Director of Creative Learning, explained. Through early collaboration with school leaders, the Guildhall team made sure their impact would be firmly established and, crucially, long-lasting. The creation of after-school theater clubs and music programs that went far beyond the project’s initial parameters was made possible by this whole-school strategy. These became integral components of the school’s identity rather than merely extracurricular activities.
However, classroom participation isn’t the only metric used to assess the program’s effectiveness. Responses from parents have been remarkably positive. Almost 80% of parents who responded to the survey said they felt much more comfortable bringing their kids to public art events, and they directly attributed this increased comfort to Barbican Guildhall’s support. This change reflects a larger trend in accessibility in society, where inclusion is a practice rather than merely a policy.
Canon One of the National Creative Learning Awards judges, Ruth Gould MBE, highlighted the significance of this accomplishment. She pointed out that music is far too frequently offered to disabled students as passive therapy. On the other hand, Barbican Guildhall’s SEND programme has been especially creative in providing individualized, skill-based arts instruction that is in line with each student’s potential. Particularly important for upcoming policy changes centered on equality and opportunity is the program’s customized approach.
This model’s beauty is found in both its structure and its results. For instance, in return, Barbican Guildhall employees received expert training from The Garden School in subjects like behavior analysis, sensory communication, and designing classrooms that are inclusive of people with autism. Both institutions were able to develop as a result of the mutually beneficial culture this two-way exchange fostered. A wider dissemination strategy is currently being informed by that feedback loop, and Barbican Guildhall is currently looking into ways to expand its SEND models to more schools in the area.
The influence of the program extends to artistic performance. Guildhall instrumentalists recently performed a program that included rarely heard 20th-century works like Ginastera’s Harp Concerto and Copland’s Clarinet Concerto. These choices—unusual, risky, and incredibly expressive—reflect the spirit of the SEND initiative, which is inclusive, bold, and firmly anchored in individual voice. In order to unlock potential through innovative, demanding frameworks, inclusive education is fueled by the same creative DNA that produces great musicians.
Guildhall served as the melting pot where talent and opportunity collided for well-known alumni like Eddie Redmayne and Alfie Boe. That crucible has expanded, become more inclusive, and is now purposefully accessible thanks to this SEND program. The focus has shifted from highlighting the exceptional few to developing a system that gives all students, regardless of ability, a forum to express themselves, try new things, and grow.
Parents are also feeling the emotional effects of these changes. After just one session with Drum Works, a mother described how her child, who had previously been nonverbal, started to initiate drumming patterns at home. Another father talked about his daughter’s recent interest in theater, stating that since working on a drama project, her confidence had “skyrocketed.” Although these stories are unique, they illustrate a broader pattern: children’s ability to flourish is remarkably apparent when given the proper resources.
The importance of incorporating creativity into the design of learning, particularly for students with disabilities, is becoming increasingly recognized in the educational community. As demonstrated by Barbican Guildhall’s SEND initiative, such inclusion is not only feasible but also imperative. Through the integration of creative learning into teacher training, school leadership, and family engagement, the program has changed not just the appearance of education but also how it feels for the communities it affects.
As a national benchmark, this model is currently becoming more and more popular. Cultural organizations and educational policymakers are paying attention, trying to figure out how to scale customized, ongoing creative projects without sacrificing the essence of their methodology. A significant change that rethinks inclusion as a foundation rather than an objective could result from this, if it is successful.
