MDEE 2023: Reflecting on Expo

On 23 February 2023 the tenth Music & Drama Education Expo opened at the Business Design Centre in north London. A fanfare specially written and performed by army musicians marked the opening, and by 9am I was inside the main hall enjoying the surroundings. This was my first Expo at the centre, having attended earlier shows (as an exhibitor) at Olympia, MDEE’s former home. The large vaulted ceiling, spreading natural light, and clear sight-lines were an immediate improvement, as was the spacious cafeteria, at one end, for meeting friends old and new. You could sense where things were. As previous Expo reviewers have noted, enabling delegates to connect with fellow teachers and professionals, when otherwise working in small departments (often alone) scattered across the country, is a major draw for many.

For those unfamiliar with Expo, the two-day event features over 70 workshops, seminars, presentations and demonstrations for educators from all walks, from Early Years specialists to music hub leaders. It takes place annually, is free to attend for delegates, and provides teachers with certificated continued professional development (CPD). This year Expo received almost 2,000 visitors over the two days, and the Exhibition showcased 110 brands including exam boards, publishers, tech companies, start-ups, universities, music associations and trade organisations.

Expo also has a dedicated Exhibitor space, a busy floor of booths showcasing apps, publications, courses, instruments and a variety of products. It brings together teachers, examiners, manufacturers, demonstrators and is where much of the buzz is, where connections are made.

Actions, not words

Both days started with warm-up sessions – not untypically for a music or drama event. These are great ice-breakers, of course, but also a place to absorb repertoire, games and tips on posture, vocal health and technique. It makes a difference when these are led by highly experienced practitioners, as here, and when the material is new, diverse and involves South African gumboot dance to energise and enthuse, also as here. It seemed to do the trick. On Day 2, under the expert guidance of the Voices Foundation, delegates were again singing, this time focussing on resonance, articulation and getting the air flowing.

This set delegates up for what followed on Day 1: a discussion around wording in the National Plan for Music Education (NPME) and in particular what it does or does not say on equality, diversity and inclusion. Fortunately we were in the capable hands of Sharon Jagdev Powell, who provided a clear overview, taking into account how EDI and the levelling-up agenda was supposed to have shaped the revised plan. The terms ‘youth voice ‘or ‘anti-racism’ were absent, we learnt, and the plan was short on other specifics. But we were introduced to a panel – made up of a young producer (Sam Sikiru), music educator (Tolu McCarthy) and community music manager (Keith Sykes) – who shared their experiences and expressed what could or should have been in the Plan. The testimony was compelling. The conclusion reached was that, to make a success of the refreshed NPME, the sector needed a unified understanding and sector-wide commitment to EDI. We then heard about Leicestershire Music’s and others’ involvement with Youth Music’s IDEA project, a pilot accreditation framework designed to create strategy as well as a standard for music education. It was good hearing of the action-research and this future support for schools and hubs.

Supporting young creatives

A satisfying thread over the two days was a series of CPD sessions or discussions related to composing, improvising and, put simply, being creative. It seemed a welcome distraction from talk of assessment, plans, funding or other challenges of recent times. Moreover, it was a celebration of what ought to be commonplace among students, with feeling empowered. I therefore welcomed Nathaniel Dye’s, Francis Winston’s, Richard Michael’s, Paul Harris’ and Martin Scheuregger’s sessions on composing and improvising, the processes around these, and on rap and other genres that speak to this. The ever-growing opportunities created by DAW software were also apparent, including how to combine this with notation, and most platforms were well represented in the Exhibitors area if you had further questions. Abi Thommes and Chris Wood also discussed songwriting in schools, as part of a live podcast, and composer and organist Anna Lapwood, during a ‘Fireside Chat’ with Harriet Richards, spoke of wanting to ‘remove the mystique of composition’. There was a collective buzz in the air.

Meanwhile, the Middlesbrough Open Orchestra, part of the largest community of inclusive ensembles in the UK, took to the stage for the first performance. Featuring students aged 12–16, the group performed original compositions by members of the group and gave a spirited performance that was fully deserving of the cheers and applause. Students performing at Expo seems an essential ingredient, and this was a prime example of what success looks like.

A further highlight of Day 1 was Dame Evelyn Glennie, during the second Fireside Chat, discussing her childhood as a deaf person in mainstream education, delving into how these experiences transform our perspectives on classroom and instrumental teaching. Learning to ‘listen’ as well as ‘hear’ was something we could all benefit from, and it was interesting to hear about her new Foundation that is furthering this cause.

Working-life advice

Sitting among teachers, it’s easy to become aware of the need for practical advice on reporting, creating plans, managing or arguing your case with SLTs – the rock-face stuff that’s less exciting but useful nonetheless. The programmers had thought of this and how to manage workloads, but also, on a broader scale, about advocacy for the arts, sensing the prevailing mood outside. A panel discussion, led by Dr Jodie Underhill, gave this the space it required and included, importantly, types of evidence that can help support advocacy.

Given some teachers attend Expo as part of their annual and only CPD (because of tight school budgets), this exchange of information and solidarity, in effect, seems a vital part of the show. Sessions such as ‘Becoming a confident primary music subject lead’ (with Rebecca Beavis) were standing-room only, and offered advice on pulling together the jigsaw of SLT, parents, school governors and curriculum, and on how ‘small steps’ or considering why you’re monitoring things is time well spent. It was reassuring, prompting delegates to learn from each other as well from a leader with bags of experience.

Other sessions addressed expectations around instrumental teaching (what we assume, how much practice to expect), designing curricula, and promoting youth leadership or independent learning, which are also workload related.

In support of students, it was also good that some sessions acknowledged the mental toll of the last few years and gave thought to the role music lessons can play. The session ‘Music and Young Minds’ opened with a discussion of low self-esteem and social engagement among the Covid cohort, and of the rise in registration of additional needs and of new pressures from social media. We then looked at how music lessons can be a safe place for children to explore their emotions, through listening and taking time to reflect – listening activities provide a vocabulary for expressing and understanding feelings, fostering independent thought. Similarly, we learnt how learning an instrument gave children a safe place for them to ‘fail safely’ or learn how to ‘get back up’. It was heartening stuff, provided provision of instrumental teaching continues. In addition, the session ‘Trauma informed practice for musical inclusion’ shared insights into a trauma-informed model developed by Music for Good and the practical steps for embedding this in music education.

A performance by the Middlesbrough Open Orchestra

House-keeping

Like some, I found it a little frustrating that I couldn’t be present at two interesting-sounding events at the same time because of timetabling. In the scheme of things, though, that’s not a bad problem to have, suggesting, of course, there’s plenty of appealing sessions to begin with. I guess it’s down to delegates being organised, doing the right amount of prep beforehand, and accepting we can’t be all things to all people.

Some delegates didn’t realise (nor certain speakers) that Powerpoint presentations etc are made available to delegates attending the session. This may have saved some the trouble of taking photos or feeling panicked as slides whizzed by. Resources, as well as CPD certificates, for sessions delegates attend are sent to them a month or so after Expo, provided their passes have been scanned going into the session. This may take the pressure off going forward.

Finally, I’d like to congratulate all involved in organising what was a thoroughly enjoyable two days, and to acknowledge the input of programmers, exhibitors, speakers, performers and delegates themselves. MDEE is a unique event, the only one of its size around, and I and many others will be back for more.

musicanddramaeducationexpo.co.uk