The Arts in Schools - Calouste Gulbenkian Foundation

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153 The Teachers are the most important resource in schools. It is onneed for their skills and professional judgement that the whole enterin-serviceprise is founded. If schools are to become more accountable,training then effective patterns of assessment need to be developed.This means that provision for the dissemination of newapproaches and the scrutiny of existing ones must be madeavailable in the form of greater opportunities for in-servicetraining in this critical area.154 The need We maintain that the arts provide essential points of entryforinto understanding and shaping the worlds of feeling andpartnership personal response and that in their practice and assessmentthe arts should provide an experience of positive achievementin schools. The task for assessment and evaluation inthe future is to develop criteria for judgement about skill,understanding and levels of achievement. We suggest thata these should be negotiated and agreed by teachers,pupils, school administrators, with appropriate contributionsfrom external agenciesb in the field of examinations, there is a need to reviewmethods of choosing and training examiners, includingspecialist examiners for the arts, and to devise bettermachinery for consultation and feedback betweenteachers, schools and examining bodiesThe task is, and remains, to respond positively to the callfor accountability. The evidence of enhancement and achievementthrough the arts is in rich supply. We need formsthrough which to make it visible and the determinationthat it should not be distorted by demands for the wrongsort of 'proof.155 Summary In this chapter we have discussed and endorsed the need foraccountability in schools. We have called for more thoroughand responsive patterns of assessment and evaluation toachieve this and described the principles on which thesemight be based. We have drawn attention to existing schemeswhich are pursuing such principles. We have considered thegeneral arguments for examinations in the arts and we haveput counter-arguments. We have identified a limited case forarts examinations and have pointed to some of the anomaliesin current approaches. A new approach to examinations wasdescribed and we have urged the need for further researchhere. We have highlighted the need for more contact andliaison between primary, secondary and tertiary educationand see the kinds of evaluation patterns we have describedas playing a key role in this. Finally we have called for93
94more in-service training provision in this critical area ofdemonstrating through evaluation what actual value thearts are having for children in schools.We have been thinking of the arts for all children. Indeveloping this theme in the next chapter we want now tolook more closely at the value of these activities for childrenwith special needs.
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THEARTSSCHOOLSPrinciples, practice
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© 1982 Calouste Gulbenkian Foundat
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Chapter 4 Provision: the arts in pr
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The Advisory CommitteeChairmanMembe
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Foreword by the Chairman of the Inq
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Introduction—1989This is not a re
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and many others have done so since.
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politicians on all sides were compe
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the GCSE examination has addressed
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REFERENCESArts in Schools Project (
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stances and of the perennial and va
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significant than at present.4 The n
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likely to be measured publicly by e
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seem to improve when taught as part
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world around them.e In understandin
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ence essential to education? Why th
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10 The artsare notoptions11 Notwith
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1 Education, schooling and the arts
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15 The arts This is the ground on w
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for certain forms of artistic activ
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arts — is 'merely subjective" and
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to and an understanding of certain
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school curriculum fall into this se
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one who is intelligent but who exhi
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38 Quality Quantity by itself is in
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43 Freedom Two further points must
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3 Arts education and the cultural h
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universally valued archive of stabl
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a helps pupils to understand cultur
Page 59 and 60: Child: "They said it was a march, b
Page 61 and 62: their cultural identity'. Haley's b
Page 63 and 64: life and on perceptions and values
Page 65 and 66: 4 Provision: the arts in primary sc
Page 67 and 68: a What should be aimed at?b What pr
Page 69 and 70: composition — Western and non-Wes
Page 71 and 72: learning.' (Schools Council, 1981a,
Page 73 and 74: performing arts — music, dance an
Page 75 and 76: techniques and resources for workin
Page 77 and 78: are thinking particularly of the ar
Page 79 and 80: they will suffer disproportionately
Page 81 and 82: Second, integration can mean many t
Page 83 and 84: arts have a substantial contributio
Page 85 and 86: distributed equally and equitably a
Page 87 and 88: art, craft, home economics, music a
Page 89 and 90: FIGURE 2SHEPSHEDCOMMUNITYCOLLEGEope
Page 91 and 92: in upper schools. Associated with t
Page 93 and 94: 120 A Implicit in such proposals is
Page 95 and 96: 78literature and put money and reso
Page 97 and 98: 80outlined the sorts of provision t
Page 99 and 100: used — are appropriate to the wor
Page 101 and 102: 135 Respon- If education involves t
Page 103 and 104: we look at, or participate in, visu
Page 105 and 106: MotivationalChildren on examination
Page 107 and 108: elevant help in compiling the profi
Page 109: ible to some form of appropriate as
Page 113 and 114: 1%—2% of the school population
Page 115 and 116: tuition under well qualified teache
Page 117 and 118: it is likely that more children wil
Page 119 and 120: 102by professional musicians, many
Page 121 and 122: frequencies and belongs to the Part
Page 123 and 124: classroom teacher. Nevertheless, th
Page 125 and 126: 'Within individual schools in certa
Page 127 and 128: implications of different types of
Page 129 and 130: We will first outline five main are
Page 131 and 132: 186 Arts In the schemes we have jus
Page 133 and 134: schemes. The Arvon Foundation, for
Page 135 and 136: is likely to give his teaching rele
Page 137 and 138: periods of time. There are possibil
Page 139 and 140: 207 The role The rple of the teache
Page 141 and 142: to be essential to the future devel
Page 143 and 144: scheme. The Charlotte Mason College
Page 145 and 146: d education is something that only
Page 147 and 148: iture. It does require a different
Page 149 and 150: 225 Initial Initial and post-initia
Page 151 and 152: Germany 18% of the workforce has be
Page 153 and 154: outes for the visual arts. In parti
Page 155 and 156: at the centre on a regular basis. T
Page 157 and 158: potential. The exceptional situatio
Page 159 and 160: We have developed our arguments in
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wherever possible, co-ordinate the
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AppendixOur arguments in this repor
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Evening classes range from life-dra
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to work with them. CSE groups with
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from other schools to watch two lec
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the cost). Groups of children have
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iii as a special authorised charge
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BibliographyAdvisory Council for Ad
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Kerr, J F 1968 Changing the Curricu
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NotesThe Issues1 For a description
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the philosophy of Ludwig Wittgenste
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for candidates between the 100th an
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their education full-time in school
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