Is the Curriculum fit for purpose?

Deirdre Gribbin is a music teacher, composer and artistic director at Venus Blazing Music Theatre Trust.

What if music education was at the centre of all curriculum programming in the UK education system? As a Sir Winston Churchill Fellow in Canada and the US I witnessed effective creative music programming in primary and secondary school settings where progressive collective music making was seen as imperative for the enhancement of students’ education overall.  


Let’s dream of a world without the confines of exams and time pressures absorbing vast amounts of compulsory curriculum criteria, a world that allows for the embodiment of creative collaborative music performance and composition as a central force and catalyst for cognitive and social development. Dr Nina Krauss at Northwestern University has established research which shows the impactful power of active music engagement on brain development to do with language skills and cognition. 


In my work in pedagogy as Professor in Composition at Trinity Laban Conservatoire of Music and Dance and at the Royal College of Music, I have developed teaching strategies which embody the art of creative development as a central tool for inclusion and social integration encompassing diversity with a strong awareness and respect for the individual’s ability to relate to music and creativity. 


The music curriculum in Key Stage 2 and 3 attempts to develop an understanding for group music making and creative composition, but as the curriculum becomes much narrower in secondary education, music falls from it as a staple core activity. This is just at a time when young people are struggling with issues to do with their mental health and well-being, their development of social skills and their sense of identity. I believe that a shared space for weekly collaborative composition could be a real game changer for this group of young individuals in helping them through this often difficult and isolating journey to adulthood. 


Approaches to developing creative ideas in a group activity such as composition can teach so many transferable skills. These include decision making; what to include in a piece of music that will collectively make it better, how to take initiative and lead, how to have fun and enjoyment in a focused positive goal, how to assert and gain confidence in a protected space and, most importantly, how to use this approach to music creation to foster a genuine inclusion and respect for peers and colleagues. These are skills which are imperative in any future work and social setting. 


As Artistic Director of the charity Venus Blazing Music Theatre Trust I have seen the power of this approach to creativity. I work with young people with Down’s Syndrome. In one of the greatest examples of the impact of music on cognitive development, I witnessed one of our young participants who struggled with verbal language and self-expression make the huge leap of being able to sing his name at the beginning of a session after a year of being silent. This step unlocked a quirky and inventive personality who was able to build his confidence and sense of self through his belonging to something that was important to him and where he felt that he was valued. 


As a Professor at The Royal College of Music these skills have been captured in a short film for their knowledge exchange programme where students at the college engage in programmes of reciprocal learning with the cognitively diverse participants of the Venus Blazing Music Trust. I have witnessed the positive impact of college level music students who excel at what they do giving something back and, more importantly, learning from those with different approaches to cognitive thinking and communication. 


One such student shared with me that her experience was vital to her personal well-being because it enabled her to value what she had achieved in her life and also gave her the opportunity to relate to and understand the wider community including the unfamiliar. She got there through the power that creative music making was able to unlock. 


Let’s try to change perspectives and go off-grid to make this approach to learning at all levels the norm.  




This article first appeared in Engage 25.


DEIRDRE GRIBBIN • January 23, 2023
By Ann Beatty July 23, 2026
Something is energising about spending time with people who genuinely care about children and young people. That was my experience at this year’s Children’s Media Conference in Sheffield. I had the privilege of joining the Local Heroes panel, sharing the story of Seeds of Hope for a Better Future - a partnership between UNESCO ASPnet UK and partners across the U.K and globally. Seeds of Hope has connected partners through collaboration on projects and has grown in the past year. One of the projects highlighted was the Lights Camera Score programme in schools, which is now working on an exciting project with Calderdale Council and the English Chamber Orchestra, which will showcase this August at Shibden House. As we enter the second year of the competition, it was encouraging to discover how much interest there is from writers, producers, educators and creatives who are asking the same question: How can we help young people imagine and create a better future? What struck me most throughout the conference was the intention behind the conversations. Rather than assuming what young people need, there was a genuine desire to listen, understand and create media that reflects their lives, their challenges and their aspirations. One of the most thought-provoking sessions gave the microphone to young people themselves. They were asked about the proposed social media ban for under-16s, and their responses were refreshingly honest. Their message was clear: they believed the ban would be difficult to enforce because young people would inevitably find ways around it. Instead of excluding them from digital spaces, they argued that our focus should be on making those spaces safer and on helping young people develop the skills they need to navigate an increasingly digital world. One comment in particular stayed with me. A young panellist admitted, “Yes, it’s true I spend too much time on social media but so do all of you adults in the room.” The audience responded with warm applause. It was a reminder that young people notice the contradictions in the messages they receive, and that meaningful dialogue begins with honesty rather than judgement. That session reinforced something I have long believed: if we are serious about shaping the future, we must involve the people who will inherit it. Too often, decisions are made about young people rather than with them. Yet when we create opportunities for them to share their ideas, they offer thoughtful, creative and practical perspectives that deserve to be heard. That spirit resonates deeply with the values behind Seeds of Hope for a Better Future. The competition is built on a simple but powerful belief: when children and young people are allowed to express their ideas through creativity, they do more than imagine change; they begin to shape it. Over the past two years we have seen young people respond with imagination, compassion and practical solutions to some of the world’s biggest challenges. Their artwork, writing, films and performances remind us that hope is not passive; it is something we nurture through creativity, collaboration and action. I left Sheffield feeling optimistic. Not because all the answers exist, but because I met so many talented people committed to listening to young voices and working alongside them. The enthusiasm shown for Seeds of Hope for a Better Future affirmed that there is a growing movement of educators, creatives and media professionals who believe children and young people should not only be represented in stories but also help shape them. Perhaps that is what being a local hero is really about. It is not about having all the answers. It is about creating the conditions for others to flourish, listening with curiosity and planting seeds of hope that will continue to grow long after the conversation has ended. You can follow the journeys below: https://www.stageatthelake.co.uk/seeds-of-hope https://threestonesmedia.co.uk/blog/portfolio-item/lights-camera-score/ Entries for Seeds of Hope for a Better Future for 2026 have closed, and we will be back again next year: https://unesco.org.uk/ For inspiration, you might like to have a look at the 2025 Winners: https://www.youtube.com/watch?v=_bb8PJS5j7k Ann Beatty UNESCO ASPnet Coordinator UK CEO, The Steve Sinnott Foundation Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/roo-walker/over-the-horizon License code: ZFK6D180PHNWXSYQ
By Marie Antoinette Corr June 10, 2026
1. Background and Rationale In The Gambia, school-related gender-based violence (SRGBV) remains a serious barrier to education. Girls are most at risk, though boys can be targeted too and human rights organisations increasingly recognise poverty itself as a form of structural gender-based violence. Period poverty - the lack of access to menstrual products, education, and sanitation sits at the heart of this problem. Without safe facilities or affordable pads, many women and girls are pushed into transactional sex just to manage their periods, exposing them to serious risk of physical and sexual assault. Even without that direct danger, period poverty quietly excludes girls from school and public life: missing class due to a lack of pads or poor toilet facilities fuels absenteeism, dropout, low self-esteem, and often early marriage, deepening cycles of poverty. This is a global crisis hiding in plain sight. An estimated 500 million of the 800 million people who menstruate worldwide struggle to afford period products, and nearly 1 in 4 students faces the same barrier. A burden that falls hardest on the already marginalised. In The Gambia, girls who can't afford sanitary pads often face poor academic performance, truancy, and lasting health and psychological effects. A lack of education around menstruation breeds stigma around something entirely normal and healthy. That's why community sensitisation is so critical. Breaking the taboo helps reframe menstrual products as necessities, not luxuries, and gives women and girls the tools to manage their health with dignity, including safe alternatives like reusable pads where commercial products aren't accessible. Training women to sew their own reusable pads goes further still, building not just access but autonomy and confidence. With GBV cases rising in both schools and communities, the need for coordinated action has never been more urgent. Tackling SRGBV and period poverty specifically isn't the job of one institution alone; it requires educators, communities, and stakeholders working together toward one goal: menstrual dignity and bodily autonomy for every woman and girl. In response, the Gambia Teachers Union, with funding from the Steve Sinnott Foundation, held three community sensitisation sessions on SRGBV and period poverty from 5–7 June 2026. Sessions included demonstrations on making reusable sanitary pads and distributed materials for step-down training in schools and communities. A total of 312 participants, including school mothers' clubs, community and religious leaders, and traditional communicators, attended across three venues: Farafenni Community Centre, Brikamaba Senior Secondary School Hall, and the Regional Education Directorate 4 (Mansakonko) Conference Hall. 2. Objectives Sensitise stakeholders on SRGBV and its impact on girls Offer a durable alternative to costly disposables, easing pressure on family budgets Improve hygiene and health to prevent infection Build community skills to make affordable, sustainable products like reusable pads Promote safe, inclusive school environments Break stigma through community-wide education Establish safe, confidential reporting pathways beyond traditional barriers Challenge harmful norms, victim-blaming, and cultures of silence Unite Mothers' Clubs and female teachers, leveraging their social and structural influence Build peer support networks with access to trusted adults for emotional support Expand access to menstrual products and champion menstrual equity The sensitisation was on Promote safe menstrual practices to prevent infections from unhygienic alternatives (rags, tissue, leaves, etc.) Teach private, hygienic methods for changing, washing, and drying Train girls and women to produce eco-friendly reusable pads from local materials Establish community-led pad banks and income-generating sewing groups for women Address the reality that girls miss 5 school days a month due to lack of pads or fear of leakage and bullying Level the academic playing field by reducing dropout gaps between boys and girls Shift community narratives to remove taboos and myths around menstruation Engage boys and men to build empathy and normalise periods as a shared, natural issue, not a "women's burden" The sessions were highly participatory, allowing teachers to share experiences, raise concerns, and explore context-specific solutions. Training on period poverty alleviation is critical because it empowers communities, breaks dangerous taboos, and tackles the economic, health and educational barriers associated with menstruation. By building local capacity, it creates sustainable long-term solutions. Participants were happy about the training and committed to conducting step-down trainings for other Mothers' Clubs and adolescent girls in their schools. Participants were given sets of materials to start with. The pads will help girls have a reliable and sustainable solution to their menstrual worries, hence enabling them to avoid infections, exploitation, shame, low self-esteem, stress, and they will remain in school Materials for Distribution
By Ann Beatty June 1, 2026
On Friday evening ( 29 May, 7.00 pm The Actors Church Covent Garden) we had the pleasure of listening to this very special concert, bringing together the Choir of King's College London and the Princeton High School Orchestra in a celebration of international friendship, collaboration, and shared values. This project reflects a commitment to peace, sustainability, equality, and cultural exchange, uniting young musicians from the United Kingdom and the United States through the universal language of music.