Seminar guidelines & FAQ’s

Who should my session cater to?

Our delegates comprise:

* Classroom teachers from early years through to A level
* Instrumental teachers from beginners to advanced
* Drama classroom teachers and practitioners
* Management – Heads of Department, Hub Heads and Heads of Music Service

So please ensure your session caters to one or more of the above delegate types.

 

Which key stages should I cover?

We try to ensure an equal offering across the key stages, from Early Years and KS1 through to KS5.  We appreciate that some topics will be more specialist, and some will be applicable to many. Generally we get fewer sessions offered at Early Years level and at KS5, so submissions appealing to these areas would be very welcome.

 

What sort of topics do you look for?

We allocate sessions across the following topics:

* Technology
* Rock & pop
* World Music
* Curriculum & exams
* Policy & funding
* Career development
* Business & marketing
* Current educational trends, approaches and new research
* Mind & body
* SEND & inclusion

 

Do you prefer practical sessions or lectures?

The answer is both! We have five theatres, each catering to a different stream:

Rhinegold Theatre: our keynote theatre which hosts our morning warm-ups, minister addresses, policy & funding debates and our most popular sessions.
Workshop Theatre: our practical music-making space. You’ll find most of our hands-on sessions with ensemble music-making in here.
Seminar Theatre: our dedicated lecture space. This is the room where we explore education theory, find out results from the latest research, and present business & marketing advice to build your teaching empire.
Rock, Pop & Tech Theatre: on the tech front, we present the latest developments in recording and production, stage lighting and live sound, offering advice on the best gear and set-ups for your department and live productions, as well as how best to integrate technology into your teaching practice. There’s also a host of specialist music tech sessions in here exploring composition, sampling & sequencing, and masterclasses on topics such as EQ. For rock and pop? There will be presentations on the latest syllabus developments, best-practice approaches to engaging your students with rock & pop repertoire, and instrument master-classes from leading musicians.
The Space: our dedicated ‘on-your-feet’ space focussing on movement, teamwork, games and activities. This theatre hosts all of our practical drama workshops, and is where most of our Early Years and KS1 practical workshops can be found.

 

Is it ok to submit my session from a company/organisation or do you prefer those made by individuals?

We whole-heartedly welcome both! The Expo is a celebration of all those working in education and in the industry and there is much specialist guidance and advice to be had from companies, charities and institutions, as well as from individuals practising in the sector. It all comes down to the quality of the session offered, so we’ll never have a bias towards sessions coming from individuals only. It is important, however, that the session quality is high and truly useful to our delegates and not purely a sales pitch for a service or product.

 

Who selects the conference programme and what is the process?

The initial programme is selected by our Heads of Content: Alex Stevens, Head of Content (Music) and Editor of Music Teacher magazine and Sarah Lambie, Head of Content (Drama) and Editor of Teaching Drama magazine

It’s a long and considered process. Alex and Sarah request feedback and ideas from our specialist Advisory Board in advance of the call for papers deadline (any sessions they feel have been missing in previous years; what they’d like to see more of; plugging gaps in current service/department provision). We take this advice on-board when reading through the submissions.

Our main priorities when considering submissions are:

* Do we have an even spread of sessions catering to all of our delegate types? We try    to offer at least four specialist sessions per day for each of our delegates
* Are we covering all of the key stages (with plenty of general sessions as well as        those offering more specialist subject knowledge and expertise at the upper and        lower levels)?
* Is there a broad representation of topics (policy & funding, technology in the             classroom etc)?
* Are we covering current topics, research and thinking and offering our delegates      the chance to meet, probe and debate with key decision makers in the fields of
policy and curriculum?
* Is there an even offering across theory; aural; composition; performance;
improvisation?
* Are we varying the programme enough year-on-year? We try to mix up our
speakers, topics and sessions as much as we can. We’re all about putting the
‘continuing’ into ‘continuing professional development’ and it’s important that
there’s enough new material on offer to encourage our audience to return each
year

Once we have our draft programme in place, it’s sent out to the advisory board for comment and approval. Our board is made up of specialist teachers and management figures practising in the industry. Each member represents one or more of our delegate types, so they look out for our audience and ensure our programme offering is rigorously current, useful, in-depth and high quality. They give us a hard time (and quite right, too), and once we emerge from the process, we’re confident that we have a conference programme to be proud of.

 

How likely is it that I’ll get a session?

We do receive many more seminars than we can programme (at least 8 applications for every one available session). So it’s a tough process, and it means we regrettably have to turn down some fantastic proposals. The main issue we have is balancing our allocations to ensure we cater to all of our delegates – so if your session isn’t chosen, it’s often a question of maths, and of balancing the sessions with each other, rather than of the quality of your submission.

Our Heads of Content do remember previous submissions they liked but didn’t have room to programme, though, and we do occasionally approach previous entrants in following years. So it’s ALWAYS worth submitting a proposal. Plus, with our once-click call for papers, you can re-submit sessions year-on-year with no hassle.

 

Do you offer feedback on seminar submissions?

Regrettably, due to the sheer volume of submissions, we are unable to offer feedback on individual sessions.

 

Is there a fast-track way of submitting a proposal?

If you’ve submitted a proposal to any of our previous shows (from 2016 onwards) you can complete our one-click call for papers. It takes 30 seconds to fill in and means that we locate the submission and enter it for you. Easy!

>SUBMIT A MUSIC SESSION

>SUBMIT A DRAMA SESSION

>ONE-CLICK CALL FOR PAPERS (for previous submissions across music AND drama)

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