Latest news with #ScottishIndexofMultipleDeprivation
Yahoo
4 days ago
- General
- Yahoo
Research finds pipe band participation can help close the attainment gap
A ten-year study of high school pupils found that those in the pipe band achieved more qualifications than the national average. The difference was particularly significant for pipe-playing pupils from the most deprived areas: 40% attained one or more Advanced Highers, compared to 10.5% nationally. Researchers from the Scottish Schools Pipes and Drums Trust (SSPDT) and Preston Lodge High School in East Lothian tracked attainment statistics for 78 Preston Lodge pupils between 2014 and 2024. The results showed that students in the pipe band achieved more qualifications and had better overall outcomes than their peers. According to the study, 52% of pipe band members attained five or more Highers, compared to 39% nationally and 27% at Preston Lodge; 41% left school with one or more Advanced Highers, compared to 18.7% nationally. Read More: Exams 2025: What to expect on results day Man charged with attempted murder after 'stabbing' police officer, escaping in dinghy Kate Forbes' exit is bleak foreshadowing of the future for women in Scottish politics The Scottish Index of Multiple Deprivation (SIMD) identifies areas of deprivation in the country and is commonly used to measure the attainment gap between Scotland's most and least disadvantaged students. The index uses income, employment, education, health, access to services, crime and housing to assess deprivation and is typically split across five quintiles from most deprived (SIMD 1) to least deprived (SIMD 5). Results from the Preston Lodge study found that 45% of pipe band pupils from the most deprived areas left with three or more Highers, compared to 38.2% nationally. The difference was greater at Advanced Higher level, where 40% of pipe band pupils earned at least one qualification compared to 10.5% nationally. Preston Lodge was one of the first schools in Scotland to take part in the Scottish Schools Pipes and Drums Trust (SSPDT) pipe band programme, which provides grants, free instrument loans, internships and other opportunities to make music tuition more accessible. Preston Lodge Head Teacher Gavin Clark said that the impact of piping at the school is 'impossible to overestimate.' 'Our Pipe Band has grown significantly over the past two decades from a tentative group of new players in 2007, into the flourishing figurehead of our school and its community it is today. 'While we've always known that our young people of all ages and abilities, across the primary and secondary sector, have benefited immeasurably from the skill development and self-esteem building that piping and drumming can provide; we now have evidence which indicates that pipe band participation has also had a significant impact on their attainment at school.' There are 100 members across the school's three bands, with another 100 connected pupils at its feeder primaries. In response to the study, many alumni said that the findings reflected their own experiences of being in the pipe band. High school teacher and former band member Hannah Yorkston said that being in the band helped her form relationships and provided an outlet that increased her confidence away from schoolwork. Kerilee Doran echoed this, saying that the band served as a place of respite for students from all walks of life. 'What made it special was the way that we all worked together and got along, regardless of our background. 'It was looked at as a place where many could escape from anything that was going on at home and just have fun and really enjoy what you were doing.' Jordan Smith added that the musical skills he learned were far outweighed by the relationships he made. 'The band is simultaneously a friendship group, a learning experience, a safe space and support network, a chance to travel, an outlet for emotion, a self-discipline builder and a music group. 'The camaraderie and enthusiasm that the whole band shared for playing with each other, bringing together people with a variety of backgrounds to do so, is an experience I was incalculably lucky to be part of.' SSPDT Chief Executive Lindsay MacKenzie said that the Preston Lodge study could lead to changes in education policy and new ideas for making school more accessible to pupils from all backgrounds. 'While previous research has linked learning an instrument to academic achievement, such opportunities are more easily accessible to affluent students. However, this study demonstrates that pipe band membership attracts and retains students from all socio-economic backgrounds, including the most deprived areas. 'Crucially, the findings suggest that students who remain in a pipe band programme for an extended period show significantly higher attainment levels across all SIMD groups when compared to national averages. 'This evidence supports the idea that structured, well-resourced musical engagement – specifically within pipe bands – can provide a powerful tool for educational equity.' Ms MacKenzie added that more schools and music tutors across Scotland should try to replicate the study and improve 'This study provides strong indications that our investment in school pipe bands is delivering real educational benefits. 'While this is not a large-scale study, its decade-long scope and consistency in findings suggest a significant impact that could be replicated across Scotland.'
The Herald Scotland
4 days ago
- General
- The Herald Scotland
Pipe bands linked to better exam results for pupils
Researchers from the Scottish Schools Pipes and Drums Trust (SSPDT) and Preston Lodge High School in East Lothian tracked attainment statistics for 78 Preston Lodge pupils between 2014 and 2024. The results showed that students in the pipe band achieved more qualifications and had better overall outcomes than their peers. According to the study, 52% of pipe band members attained five or more Highers, compared to 39% nationally and 27% at Preston Lodge; 41% left school with one or more Advanced Highers, compared to 18.7% nationally. Read More: The Scottish Index of Multiple Deprivation (SIMD) identifies areas of deprivation in the country and is commonly used to measure the attainment gap between Scotland's most and least disadvantaged students. The index uses income, employment, education, health, access to services, crime and housing to assess deprivation and is typically split across five quintiles from most deprived (SIMD 1) to least deprived (SIMD 5). Results from the Preston Lodge study found that 45% of pipe band pupils from the most deprived areas left with three or more Highers, compared to 38.2% nationally. The difference was greater at Advanced Higher level, where 40% of pipe band pupils earned at least one qualification compared to 10.5% nationally. Preston Lodge was one of the first schools in Scotland to take part in the Scottish Schools Pipes and Drums Trust (SSPDT) pipe band programme, which provides grants, free instrument loans, internships and other opportunities to make music tuition more accessible. Preston Lodge Head Teacher Gavin Clark said that the impact of piping at the school is 'impossible to overestimate.' 'Our Pipe Band has grown significantly over the past two decades from a tentative group of new players in 2007, into the flourishing figurehead of our school and its community it is today. 'While we've always known that our young people of all ages and abilities, across the primary and secondary sector, have benefited immeasurably from the skill development and self-esteem building that piping and drumming can provide; we now have evidence which indicates that pipe band participation has also had a significant impact on their attainment at school.' There are 100 members across the school's three bands, with another 100 connected pupils at its feeder primaries. In response to the study, many alumni said that the findings reflected their own experiences of being in the pipe band. High school teacher and former band member Hannah Yorkston said that being in the band helped her form relationships and provided an outlet that increased her confidence away from schoolwork. Kerilee Doran echoed this, saying that the band served as a place of respite for students from all walks of life. 'What made it special was the way that we all worked together and got along, regardless of our background. 'It was looked at as a place where many could escape from anything that was going on at home and just have fun and really enjoy what you were doing.' Jordan Smith added that the musical skills he learned were far outweighed by the relationships he made. 'The band is simultaneously a friendship group, a learning experience, a safe space and support network, a chance to travel, an outlet for emotion, a self-discipline builder and a music group. 'The camaraderie and enthusiasm that the whole band shared for playing with each other, bringing together people with a variety of backgrounds to do so, is an experience I was incalculably lucky to be part of.' SSPDT Chief Executive Lindsay MacKenzie said that the Preston Lodge study could lead to changes in education policy and new ideas for making school more accessible to pupils from all backgrounds. 'While previous research has linked learning an instrument to academic achievement, such opportunities are more easily accessible to affluent students. However, this study demonstrates that pipe band membership attracts and retains students from all socio-economic backgrounds, including the most deprived areas. 'Crucially, the findings suggest that students who remain in a pipe band programme for an extended period show significantly higher attainment levels across all SIMD groups when compared to national averages. 'This evidence supports the idea that structured, well-resourced musical engagement – specifically within pipe bands – can provide a powerful tool for educational equity.' Ms MacKenzie added that more schools and music tutors across Scotland should try to replicate the study and improve 'This study provides strong indications that our investment in school pipe bands is delivering real educational benefits. 'While this is not a large-scale study, its decade-long scope and consistency in findings suggest a significant impact that could be replicated across Scotland.'
Glasgow Times
26-07-2025
- General
- Glasgow Times
Glasgow set to expand on-street cycle storage scheme
The new spaces will be created this year through the installation of 120 additional units, each holding up to six bicycles. On-street cycle storage is in high demand, with 97% of existing spaces currently occupied and nearly 3000 people registered for a spot. Glasgow City Council plans to install 120 units per year for the first three years of the contract, with the remainder to follow in the final two years. So far this year, 30 new units have already been installed, with a similar amount expected over the summer. Read more: Rangers Charity Foundation football team heading to international tournament Councillor Angus Millar, city convener for transport, said: "Our on-street cycle storage programme is hugely popular and there is continuing, strong demand for more spaces across the city. "Our planned expansion, which will see the installation of up to 3000 additional safe, secure storage spaces over the next five years, will help meet that demand and remove an obstacle that we know stops people from regularly using their bike. "Living in a flat can deter people from cycling because they are concerned that they have nowhere to store their bike at home, or it's simply unsafe to leave it in the stairwell. "We want to make cycling more accessible for everyday journeys for people living in a flat, and access to safe, secure storage at street level close to people's homes will help to do just that. "I am delighted that more and more people will soon be able to benefit from this expansion in the coming years." (Image: Supplied) Cycle storage units are delivered by Cyclehoop under a five-year contract worth up to £2.5 million. The scheme began as a pilot in 2021 and has since grown to include more than 235 units citywide. Each space costs £84 per year – or £7 per month – which covers the cost of management and maintenance by Cyclehoop. Cycle storage units are located based on several criteria, including public requests, demand levels, the Scottish Index of Multiple Deprivation, building type, and proximity to existing or planned cycle routes. The project is part of Glasgow's broader effort to encourage cycling as a practical mode of transport, particularly for those who may not have the option to store bicycles indoors. Read more: Play day to take place in Glasgow as health board encourages kids to stay active Many residents in older tenement buildings face barriers to cycling due to the lack of secure indoor space, with fire safety regulations often preventing bike storage in stairwells and concerns about theft from communal areas. The council believes that by providing secure, conveniently located storage, more people will feel confident using their bikes for daily journeys. Short-term, pay-as-you-go cycle storage is also available in Glasgow city centre. Full details about proposed locations and the selection process are available on Glasgow City Council's Secure On-Street Cycle Storage StoryMap.
The National
18-07-2025
- Entertainment
- The National
Eunice Olumide on living a life full of contradictions
She's harnessed the lessons from growing up in one of Edinburgh's most challenging areas to help young people conquer the limitations of poverty; she's made a major impact on the world of fashion despite initially having zero interest in clothes; she's passionate about the inspiring power of music but kept her own musical life quiet for years. Next month, she's involved in a number of shows at the [[Edinburgh]] Fringe, including screenings of her debut documentary Secret Lives: The Untold Story Of British Hip-Hop, which she directed and produced. The film is also being shown at the Fringe by the Sea in North Berwick. She also has a fashion and sustainability event – Why Do You Wear What You Wear? – at the Fringe. She wrote a book about fashion in 2018, has contributed anonymously to seminal hip-hop records and is planning to release the first album of music under her own name next year. She's also a V&A Dundee design champion, an actress, a masters graduate and was awarded an Open University honorary degree. READ MORE: Police Scotland issue terror charge for man with 'Palestine Action poster in window' As if all that isn't enough, she's spent years working with a range of charities, many aimed at inspiring young people to build better lives. If there is a common thread running through all her work, it is a determination to inspire and motivate people from under-privileged areas and give them a voice. Eunice Olumide's story begins on the streets of Wester Hailes, an area on the outskirts of Edinburgh which has long been afflicted by social deprivation. It was one of the five most deprived areas of Scotland in the Scottish Index of Multiple Deprivation (SIMD) published in 2020. 'I just grew up in a really strange time in Scotland where it was nuts,' Olumide tells me. 'Living in a council estate was kind of fun in a weird way, but it was like Lord Of The Flies. In those days, people would meet from one scheme and have a pagger, we'd call it. A fight in a big field. 'It was like a battlefield and I'd go down there on my scooter and just whiz through everyone watching it in what seemed slow motion. I remember growing up around loads of people with really serious drug and alcohol dependency issues.' Olumide has talked before about the pressures of growing up as one of the very few black children in her community. Her strict mother made sure she didn't go off the rails herself. She had been born in Scotland after her parents had moved here from Nigeria when her father accepted a posting to Rosyth with the British navy. She later moved to Wester Hailes. 'My mum was a hardcore African parent,' she says. 'You could get away with nothing. You couldn't sneak out the house. She was really strict, which was a lifesaver. 'I'm first generation born in Scotland, and so when I was in my house, everything would change. The food would change, the language would change, the sense of humour. 'And I was always travelling to West Africa from a really young age and remember trying to work out why I could just pick fruit there and eat it, but when I was in Scotland, I had to pay money for it. I remember being bamboozled by that.' Instead of being drawn into a culture of drink and drugs like many of her contemporaries, she became involved with various charities helping young people who had been attracted to that lifestyle. 'Coming from that kind of background, that kind of a circle of deprivation, you can feel like there's nowhere else for you to go,' she says. READ MORE: Brian Leishman: 'Anas Sarwar hasn't spoken to me in six months' 'I think that people perceive Edinburgh as a place where there is no danger and no bad things happening, which is not true. I would probably say Edinburgh is worse [than Glasgow], because the city's housing schemes are more isolated and there is a stronger sense of community in Glasgow.' She came to see hip-hop as a way of reaching and teaching the young people from her community. 'I felt it had a remarkable way of galvanising young people. And when you're in a situation where people feel like they don't count, or they're not important in society, or don't have a good example or support at home, I felt this music was a means to help people in my community. 'Hip-hop was the music of my generation. To me, it was literally about saving people's lives. It was something that we could all do that would take our minds off our reality. 'There are different aspects of hip-hop culture. There's the graffiti aspect, which has been widely adopted worldwide by people who are not into hip-hop and by people who are. 'You've got the breakdancing, because the dance was a huge part of the culture when it was invented in New York City. Then there is the rap, which is the poetry of it. 'But what I tend to find is that outside of the Afro-Caribbean community, another element is always erased. That missing element is consciousness. "When you study the history of hip-hop, it was a cultural art form that was created by Afro-Caribbean people predominantly in the United States of America, by black people who were coming out of the Nixon era and the war on drugs, who were coming out of almost apartheid and getting their civil rights. It was also a peaceful means of protest against police brutality. 'It was in opposition to the lifestyle of drugs and illegality. It was probably the only thing other than the church that really spoke to people in a positive way, taking them away from dangerous lifestyles. 'But pretty much after the 1990s, that [element] kind of got hijacked. Rap became extremely commercial, and the focus was more on gangsterism and the glorification of material possessions and the consciousness was lost.' Olumide sees parallels between the wider adoption of hip-hop and elements of traditional Scottish culture. READ MORE: Rachel Reeves says she wants to help first-time buyers. It won't work 'It's a colonisation and the loss of folklore … this idea that it doesn't matter, because it's not written down. With a lot of Afro-Caribbean cultural institutions or creations, they're not seen as Afro-Caribbean. They're seen as just something that anyone can use in the same way that I could do with Scottish dancing or playing the bagpipes. 'I personally think – and I'm not forcing this on anyone, or saying that that other people are wrong – that if I want to play the bagpipes or if I want to do Scottish traditional dancing it makes sense that I should have some understanding and knowledge of the culture of Scotland, and possibly respect for the history of this dance or this instrument, and an understanding of what it means. I think that's quite important, but it's not in the world that we live in today.' Olumide got involved in collaborations with a wide range of hip-hop and reggae artists, including Roots Manuva, Mos Def and Damian Marley. She also teamed up with Glasgow reggae and dub outfit Mungo's Hi Fi on an album which earned a place in a list of the seminal albums in the 50 years of hip-hop, the only Scottish album mentioned. While she was making music anonymously, she was also carving out a reputation in a very different world as one of Britain's top models, walking global catwalks for the top designers and appearing in the pages of the world's most glamorous magazines. "I was never into fashion. I was definitely not a girl who wore make-up or was particularly girly. I loved sports … football, basketball and athletics. I didn't like fashion until I found a new appreciation for it. What I do like about it is that it is creating art. 'I just used to get scouted a lot everywhere I went. And eventually, when I was around 15, I was like, 'oh, give it a go'. Honestly, it was so simplistic when I was really young. I worked in this luxury high-end store but eventually I thought it didn't make sense. 'If I worked in the shop, I needed to get dressed up and wear makeup and stand for eight hours a day. I earned less money than I did at a fashion show where I only had to dress up for a few hours that day.' READ MORE: Scotland's most photographed street targeted by vandals as police launch probe It must have been difficult reconciling the glamorous world of fashion with the more 'roots' world of conscious hip-hop and reggae, where Olumide says she would very consciously 'dress in the most unattractive ways possible' as an antidote to the way many women are portrayed in the more commercial world of successful hip-hop, which she describes as ''hypersexualised''. She kept the two worlds apart because she believes music should be more about talent than appearance. 'The fashion industry is one where I can understand if someone says, 'I want this type of look, this specific look, this is my customer … so I need someone that looks like this.' 'Whereas with music, there has traditionally been quite a strong sense of discrimination. You could look at any kind of pop music, standards for females are totally different than for men. Males can get away with wearing anything and doing anything, whereas females have to be a certain size, have a certain look. 'For me, music was never something to make money with. It was always something that I really cared about and something that I felt helped people. I didn't really want to do anything that would change that even if it meant turning down deals, very good deals, which people think is crazy. They're like, 'if you could be a multi-millionaire and be a British Rihanna, why would you not do that?' I love talents like Rihanna but do you think the world needs more of that? "That's not to criticise you if you're a female and you want to use your body ... that's nothing to do with me. I believe in free will. But for me personally, I just felt like there were too many examples of that. 'There has only been one properly successful female rapper who was conscious, and that was Lauryn Hill. Look at the abuse and cancellation she's had to put up with in her career. 'People tell me that I've been way ahead of my time, that I'm doing stuff when no-one else is doing it, and it's just too much for them, they just can't handle it. Life is about timing, you know, and you could be the best thing in the world, but if people are not ready, there's not much you can do about it.' Olumide's determination to campaign for social awareness is also apparent in her fashion work. which has embraced sustainability campaigns, a tribute to the Windrush generation at London Fashion Week and even a much-praised book, How To Get Into Fashion. 'Even in my fashion career, I only work with brands that I really believe in, with that kind of social justice background,' she says. 'All the work I do is influenced by my core beliefs.' READ MORE: Here's why Reform are issuing threats to firms over renewables But all this activism comes with a price tag. 'I think most successful artists avoid saying anything remotely political,' she said. 'Most people are not going to do or say anything which could result in them losing an income. Artists that really stand for things and have a cause can lose their label, they can lose their deal. They get dropped by agents. 'In the world we live in today, it's OK to make music that's not in-depth, music that is more about just enjoying the moment and hedonism. That is acceptable in society. It's not really acceptable to talk about serious political issues. People don't really like it. If you don't do anything that rocks the boat or stand for anything, you're likely to become much more successful. I really have suffered in my career ... you do when you actually stand for something.' Other factors have also made life difficult on occasion. There aren't many Scottish rappers and even fewer of those are women. And Olumide has also faced racism. 'When I started booking concerts, and I brought everyone from Busta Rhymes to Coolio to Scotland, people used to rip down my posters and give me abuse like the N word and 'go back home to your own country'. That really affected me, mentally and physically. It was really intense. It was like, you're Scottish, you're a female, you're Afro-Caribbean … I basically had all the things.' She's seen big changes in Scotland over the years. 'Scotland, 20, 30 years ago, was totally different to how it is now. In terms of supporting people from difficult backgrounds, or issues of race and racism, or equality, I'm quite proud of where Scotland is now. It is actually a leader in Western society for how to do things properly. 'When you look at geopolitics, and you look at the reality of some of the actions larger nations are engaging in, I don't think that those are the same values or the same agendas that most Scottish people are interested in or want to be involved in. I think we're living at a certain time where there's some really serious political issues. 'It could be argued that the world might be going into a third world war. When you're a nation that doesn't have sovereignty, you don't have control over certain things. Scotland is such a small country that it's not in its interest to be in a situation where it can't take actions that benefit its people. 'If someone says to me, 'do you think Scotland could be independent?' I say of course it can. Why could it not?' As for the future, there is no sign of her easing off on that work any time soon. 'I feel like I'm operating at about 10% of my potential and always have been. I've never really felt like I've had enough opportunity to kind of actually show how much I have to give and share. 'But I'm now old enough to say: If no-one else wants to allow me to demonstrate and show what I can do, then I'll just do it on my own. 'It's not necessarily that I always want to do everything on my own. It's more that I'm not going to wait for people to give me opportunities. 'If I've worked hard enough and I'm experienced and professional enough to do a job, then I'll just do it. I don't really believe in kind of sitting around waiting.'
The Herald Scotland
16-07-2025
- General
- The Herald Scotland
Is it really true that Scots speakers are poorer and less educated?
Read more On average one in six people in Scotland (16.7%) left school with no qualifications, but among those who consider themselves able to speak Scots (but not read or write it), its around one in four (24.4%). Conversely, on average one in three people (32.5%) have university degrees, but among people who consider themselves able to speak Scots, it is closer to only one in four (21.3%). We might imagine that if people from Scots-speaking households have historically been told off for speaking Scots and even in today's classrooms get marked down for writing Scots in essays and homework, they might reasonably come to the conclusion that full time education just isn't for them - even if they soldier through and make it to Edinburgh university the lecturers and students there will mock their accents. It can be seen that in general people who consider themselves able to speak Scots are disproportionately excluded or dissuaded from attaining the sort of qualifications that high-paying jobs require. When we use the census table builder to look at job seniority, we see that Scots speakers tend to be in lower paid jobs, compared to non-Scots speakers and Gaelic speakers. In a related manner we can look at the proportions of Scots speakers in different industrial sectors. The retail, manufacturing and agriculture sectors tend to have above average proportions of Scots speakers - the education, law, information, communications and publishing sectors tend to have below average proportions of Scots speakers compared to the general population. Any industry that you need a qualification to get into implicitly excludes Scots speakers. The Scottish Index of Multiple Deprivation contains deprivation data recorded in the same data-zones as the census, so its possible to check whether Scots language ability correlates with deprivation levels. There seems to be a strong correlation with employment, income and health deprivation with areas where higher proportions of people consider themselves able to speak Scots. Whilst it's unclear whether Scots language ability causes deprivation, or deprivation causes the Scots language, the education provision might explain it all - people who would otherwise have average levels of education and qualifications are missing out because the education provision doesn't serve people from Scots-speaking households. The Scots language has been oppressed or omitted in Scottish education and society for hundreds of years, yet still about a third of people in Scotland consider themselves able to speak it. We have to recognise the material reality, it is not a language that is going to vanish any time soon. Scots speakers need to be supported to the same extent as speakers of other languages in Scotland. Read more If the average / median salary level in Scotland is about £38,000 and such earners pay £7,000 in tax and national insurance - Scots speakers in lower-paid jobs earn less than average, and pay less tax and national insurance, then there is wasted potential revenue here. If we estimate that as a minimum the "average Scots speaker" is earning the equivalent of minimum wage, about £24,000 and would then pay about £3,000 in tax and national insurance - this is £4,000 less revenue for the government (on average per person). The census reported that there are 1.5 million people who consider themselves able to speak Scots. Thus the treasury is missing out on tax and national insurance receipts of up to £6 billion per year because Scots speakers don't receive the same levels of education as non-Scots speakers. Furthermore GDP is around £21 billion smaller than it would be if Scots speakers had average earnings. But it seems odd that when there is such a strong correlation of deprivation, education and qualifications with Scots language ability, the national organisations that try to improve deprivation, education and qualifications ought to pay more attention. Chris Gilmour is a manufacturing engineer and Scots language activist. He picked up the Glasgow patter after studying and working there for a decade. Over the past five years he has engaged in linguistic research, examining the both the lexical and socio-economic aspects of the tongue, and regularly commentates on Scots issues in newsletters and on social media
