All Posts By

Olly Lewis

The National Curriculum vs. Extra Curricular Activities

By | Blog | No Comments

My name is Olly Lewis and I work for SoCo Music Project, a local organisation that specialises in improving music provision within the county of Hampshire. In this blog I will be exploring the similarities and differences between the inclusion of Music in the National Curriculum and the presence of music in extra curricular activities. I will challenge how music outside of the classroom can in turn compliment the education system and how and why I believe it is of pivotal importance that extra curricular activities are encouraged and accommodated whenever possible if students are to seriously pursue creative pathways.


With the constant uprising of funding cuts, governmental changes and a shortage of teachers, creative subjects are suffering considerably due to the limitations of the National Curriculum. Whilst core subjects will forever remain at the top of the schooling hierarchy other subjects such as Music continue to be left on the substitute bench. I even have reason to believe that a school near my hometown of Bristol has recently removed Music from their education scheme altogether. Perhaps one of the most concerning changes as of recent has been the elimination of the levelling system. Although this system was an accurate and relative measurement of assessment it came with its flaws too. However, my biggest concern surrounding the abolition of this system is the requirement of every school to enforce it’s own replacement assessment criteria. Not only does this put additional strain on educational staff and restrict the time that they have to allocate to their specialist subjects and their students but it also means that schools will find it harder to compare their results with other schooling institutions. With something as subjective as Music, this can only be an issue.


With regards to Music, the National Curriculum is proving to be able to offer less and less. Even with the best teacher available, if that member of staff is the sole representative of the department and is being stretched too thin, only through seeking additional music provision outside of the classroom will students be able to explore and pursue music. Taking my own personal experience into account, as a Bristol-based teenager I was actively involved in a local youth music organisation called Bristol REMIX. Although my Music education was always beneficial with particularly supportive members of staff throughout every stage of my education (school, college and University), it was through my involvement with REMIX that I was really able to discover my own musical voice.

Through the provision of Bhangra workshops, Cuban ensembles, singing/songwriting workshops and performances at venues such as the Royal Albert Hall (BBC Young Proms), my interest and desire for a future in Music blossomed. In turn, this improved my performance in the classroom (not only in Music) and boosted my confidence considerably as I had formed a band with some of my peers and I was performing regularly in and around my local music scene. If my music education and upbringing relied solely on the limited amount of classroom hours available to me, it may have taken me much longer to discover my love for music or perhaps I never would have. Now 24 years old and employed by SoCo Music Project, I am working with a company that offer similar provision to what I grew up with and I am blessed by having the responsibility of delivering similar workshops to future generations to come. It is this opportunity for me to pay it forward that has always fuelled my passion for the work we do; these opportunities are much more important than most people will ever realise.

Having done plenty of work to strengthen the music provision in schools it is great to see just how this work can compliment the National Curriculum. So long as there is a budget, these activities can facilitate the musical welfare of students. If this is of particular focus, students can write and express themselves as they need to, they can record and share their progress with their loved ones, they can learn and explore the ways in which music functions not only on manuscript but on an emotional level. The only limitation of such provision is that it is harder to standardise and to assess the quality of the content. However, should art ever be restricted or confined in any way? Perhaps the freedom and flexibility of these activities is what allows the students to realise their artistic potential.


To conclude, the National Curriculum is ever changing and due to on-going limitations, the provision of creative subjects is always in jeopardy. This has a directly negative influence on the artistic freedom of musicians and interferes with the classroom and teachers’ capability of facilitating creativity. If a relationship with music is to develop outside of the classroom then the provision of extra curricular music activities is almost essential. This provision can be personalised and offers plenty of flexibility. With an art form that is so freely expressive, intricate and arguably spiritual, versatility in delivery is something that should only be sought after, for we all have individual voices.

How does music challenge the restrictive linearity of Gender Identity?

By | Blog | No Comments

For several months, my colleague Jim and I have led songwriting workshops to Breakout youth group. The young adults that attended the sessions ranged between the ages of 11-23 and were members of the LGBT community. We delivered monthly sessions in Southampton, Eastleigh and Basingstoke with approximately 60 young people involved in total.

The aim of these sessions was to write and record an album that explored the themes of sexuality and of self-expression. The album consisted of 12 tracks that offered plenty of variety (e.g. band performances, poetry reading, singer/songwriters). The album will soon be physically available to those that participated in the project and will be digitally accessible to everybody else on BandCamp shortly.

But aside from the creation of this albums’ worth of original material, the sessions proved to be an immensely eye-opening experience for me. We were working with some of the most emotionally mature, strong, independent and inspirational young people I had ever met.

In a world plagued by prejudice and judgement, growing up is never an easy thing but some of these individuals I believe have had more life experience already than some people get their entire lives. From birth, we are assigned a sex and expected to conform to the demands and expectations of being a boy or a girl. That label is thought to define who we are. But what if it is not that simple? What if you don’t feel like you’re in the right body? What if it’s not that you just don’t feel like a boy or a girl but that you know you simply are not what you are ‘supposed’ to be? Some of these young people live and experience this reality on a daily basis. Some have supportive networks, others are not quite so fortunate.

For Jim and I, we were able to develop close relationships with these young people, explore the day-to-day challenges they faced and provide them with a platform for free-expression. Often, they told us that the provision of these workshops and this opportunity for them to express themselves through song was something that they looked forward to each week. One person in particular mentioned that it was the only time and place that they felt they could be bothered to talk to anyone, that it was the only place they felt they were truly heard, accepted.

The fact that acceptance seemed to be such a rarity in these young people’s lives really upset me. There was no reason as to why this should be the case as they were all particularly loving, friendly, empathetic people. To me, gay or straight, male or female, wishing to avoid such labels entirely, we should be able to be who we want to be for we all live our own lives and not the lives of others. It seemed clear to me that these young people were not the problem.

Fortunately, music helped us to explore this reality and explore this desire for acceptance. Jim and I learnt a lot through this experience, from things as basic as new terminology (i.e. non-binary, gender-fluid) to things far more significant (concerning aspects of these young people’s personal lives). But something that we found particularly fascinating and perhaps most challenging to address were pronouns. Instead of referring to he/she/his/her, we were encouraged to use they and them and address people by name. This was because some individuals were non-binary, and preferred to avoid the label of either sex. Others were gender-fluid, with their preference fluctuating on a sometimes-regular basis. Although this was new and difficult to embrace at first, it was clear to us that by avoiding sex-specific pronouns and by making more of an effort to address individuals by name we were able to make the young people feel more comfortable in our presence and as a result, they were happier to engage in the activities of the sessions. It had not occurred to me just how difficult it is to be labelled as man or woman, nor had it previously occurred to me that maybe people just don’t want to be one or the other. I would not be surprised if non-binary sexuality is often the result of frustration and the desire to escape the conformity of sexuality. Why should things be so linear? Why do we have to be a certain way? Can we really help it if something does or doesn’t feel right?

To conclude, it seems that the concept of gender identity is not quite as straightforward as some people make it out to be. When we begin to make categorisations (i.e. Man or woman, gay or straight), we begin to depersonalise individuals, remove their characteristics, traits and overlook what makes that person truly them. Music is simply a tool that can be used to explore and challenge the restrictions of this. It acts as a means of expression and allows us to communicate with each other in inexplicable ways. With such ignorance in the world, we need to rely on these alternative forms of communication if we are to truly understand, appreciate and accept one another. A lot goes on beneath the surface for a person. Discomforts, fears and anxieties cannot be left in the dark and require somebody to cast light upon them. If music is the key, then so be it.