Arts Award Gold is a Level 3 qualification on the Regulated Qualifications Framework (RQF) and advisers delivering this level sometimes have questions about the kind of level of response or reflection we are looking for. For example, how much detail are we expecting? How many words should young people use? How does the response at Gold differ from Silver? In this blog we will explore what a Level 3 response should include.
One of the most helpful guides you can use when assessing your students’ responses are the Gold assessment criteria, found on page 29 of the adviser toolkit. These criteria give an indication of the standard of work we are expecting for Gold, and it is also useful to compare them to the assessment criteria for Silver when trying to judge the difference between a Silver (Level 2) and Gold (Level 3) response. This blog about using your adviser toolkit explores the difference in assessment criteria.
There is no specific word count that young people need to meet for any parts of Gold, but we are looking for responses that demonstrate a young person understands their art form/ project/issue in depth, that they can plan, create, and reflect critically on their work and its wider context, are able to analyse and evaluate information, and communicate ideas clearly and logically, using art form specific language where appropriate.
At Gold level, students should be demonstrating high levels of independence, and initiative in planning, problem-solving, and decision-making. They should show leadership or responsibility (e.g. leading workshops, managing projects, mentoring), and demonstrate they can plan complex work.
What should their responses include?
When demonstrating their art form knowledge and understanding a Level 3 (Gold) response will show in-depth understanding of the young person’s chosen art form(s) and an awareness of any appropriate context (eg cultural, historical, social, or professional). This includes confident use of arts-specific terminology.
Young people should be able to explain ideas in their own words, not just repeat facts. They should not just describe what they did but demonstrate they understand why it matters.
In their creative responses young people should be showcasing artistic imagination and originality, and a range of creative responses rather than just one.
Throughout their portfolio we are looking for young people to reveal their critical thinking and evaluation skills through showing that they can analyse their own work and the work of others, make clear links between research, influences, and practice and explain decisions and intentions, not just outcomes. We want young people to engage with honest, critical self-evaluation, including in-depth reflections on the quality of their learning and performance, and show that they can make adaptions to feedback provided, where appropriate.
Responses should be with well-structured, or well-presented, and, while we are not assessing standards of English, answers should be written clearly, with logical progression of ideas. Arguments, for example in Unit 1 Part D, should be reasoned and backed by evidence, showing consideration of different viewpoints, and clear, justified conclusions formed from in-depth research.
What might a Gold response look like? Developing responses into Level 3 standard.
Example 1: Reflecting on your own work
Initial response:
‘I created a short dance piece inspired by contemporary dance. I practised a lot and improved my timing. The audience seemed to enjoy it, and I was happy with the final performance.’
How could you develop the response?
‘I developed a contemporary dance piece influenced by the use of weight and release techniques commonly found in practitioners such as Akram Khan. My intention was to communicate tension and release through controlled dynamics and changes in pace.
Through rehearsal, I identified that my timing was inconsistent during transitions. By video-recording rehearsals and applying peer feedback, I refined these sections, which significantly improved the clarity of the piece.
Audience feedback suggested that the emotional narrative was clear, although some movement motifs became repetitive. If I were to develop the work further, I would introduce greater variation in spatial pathways to maintain engagement.’
In this response the young person explains their intentions, analyses their process and development, evaluates impact and suggest areas for future improvement, and uses arts-specific language.
Example 2: Researching artists / influences
Initial response
‘I researched Banksy and liked how his work makes people think. His art is political and uses stencils. I used some of his ideas in my own work.’
How could you develop the response?
‘I researched the street artist Banksy, focusing on his use of stencilling as a method of producing fast, accessible political commentary. His work often relies on irony and public placement to challenge authority and consumer culture.
This research influenced my own practice by encouraging me to consider audience and environment more carefully. For example, I adapted my visual piece to be displayed in a communal space rather than a gallery, which changed how viewers interacted with the work and strengthened its message.’
In this response the young person goes beyond saying that they like the artist, showing understanding of context and purpose, and explaining how the research they did influenced their practice and the piece that they produced.
Example 3: Leadership / participation
Initial response
‘I helped run a drama workshop for younger students. I showed them warm-ups and helped them with their scenes. It went well and they enjoyed it.’
How could you develop the response?
‘I led a drama workshop for younger participants, taking responsibility for planning warm-ups, structuring activities, and managing group dynamics. I adapted exercises in response to varying confidence levels, particularly by introducing non-verbal improvisation to support less experienced students.
This experience developed my leadership and communication skills, and highlighted the importance of flexibility when working with participants. Feedback indicated that the group felt more confident performing by the end of the session, which confirmed the effectiveness of my approach.’
In this response the young person shows ownership of the project and demonstrates leadership, they reflect on their decision-making and evaluates the impact on others.
Applying this to your assessment
When assessing young people’s responses consider whether the response: