The Arts in Schools - Calouste Gulbenkian Foundation
The Arts in Schools - Calouste Gulbenkian Foundation The Arts in Schools - Calouste Gulbenkian Foundation
patterns ofa trainingb liaisone co-operationd evaluation210 The These new forms of work make new demands on bothneed for teachers and artists. This suggests the need for appropriatetraining training for those involved.For those who hope to have full-time employment in thisarea — as with arts education companies — a sustainedcourse of professional training will be valuable. Neitherexisting teaching courses nor conventional arts trainingcourses are adequate in themselves. We welcome, therefore,the development of the Community Theatre Course at RoseBruford College with its emphasis on researching into andtraining for these new ventures. As the course continues todevelop it may provide valuable patterns for others to follow,in other institutions and in other art forms. For those whowill become involved in these schemes intermittently — otherartists and teachers — preparatory workshops and shortcourses might be provided by the organisers of the schemein the area. These could provide opportunities to discuss:a the objectives of the schemeb the background experiences and work of those involvede the respective roles of teachers and artistsd the facilities neededSuch courses could do much to create the right blend ofunderstanding and co-operation between schools and visitingartists.211 The Schools are complex organisations. Each is different fromneed for the next in terms of atmosphere and habits and patterns ofliaison work. The professional lives of teachers differ considerablyfrom those of artists in terms of daily routines and thenature of their interests and responsibilities. Bringing thesevarious worlds together for productive work demands a flairfor matchmaking, and tact and common-sense in organisation.The need for sensitive and informed liaison is paramount.At a national level the appointment of an Education Officerto the Arts Council of Great Britain — and the subsequentdevelopment of the Education Unit — has done much tofoster these contacts. At the regional level, the GreaterLondon Arts Association has also recognised the need for anEducation Liaison Officer. We consider such appointments123
to be essential to the future development of this work andhope that other arts associations will recognise the potentialhere.Individual companies have also seen this need. Among thefirst to act on it was the Greenwich Young People's Theatrein their appointment of a Schools Liaison Officer. Sheargues that companies need a liaison officer, operating witha full knowledge of the company's educational policy,'. . . to initiate putting theory into practice with teachers,to understand teachers' struggles in schools, to fulfil theneed for continuity of contact, to be available to teacherswhen actor/teachers are rehearsing, designers designing etc.It is a role whose priority and responsibility is to formand maintain links with teachers, the focal point of contact,facilitating access to the process that makes teachersaware of TIE as part of a coherent educational framework,not as a peripheral activity.' (Bennion, 1980, p48)Equally, the role of liaison officers now being appointed tothe national subsidised companies goes far beyond addressingmarketing policies to schools. The task is to project suchcompanies as educational resources and to encourage greaterunderstanding both of their work and working methods.212 Creatinga problem213 Theneed forco-operationA successful education policy assumes a company's capacityto deal with the extra demand on performances, workshopsand lectures which it is likely to create. Some existing schemesare moving forward tentatively both for lack of experienceof the educational world and also for lack of funding forthe extension of existing activities. This is one of a numberof reasons for looking for new patterns of co-operationbetween arts organisations and educational bodies.We see a clear need for closer co-operation between regionalarts associations and local education authorities. A number ofregions have already taken this step. In Leicestershire, in1974, the County Council agreed that its responsibilitiesin the arts should be delegated to a newly-formed ArtsCommittee of the Education Committee. This has facilitatedcloser links between the schools, the District Council and theRegional Arts Association. It has also led to a number of thosefrom the professional arts joining the Arts Committee asHonorary Advisers to work with elected members.The Lincolnshire and Humberside Arts Association hasformed an Education Liaison Committee which drawstogether representatives from each local education authorityin the region to discuss educational policies and funding with124
- Page 89 and 90: FIGURE 2SHEPSHEDCOMMUNITYCOLLEGEope
- Page 91 and 92: in upper schools. Associated with t
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- Page 95 and 96: 78literature and put money and reso
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- Page 113 and 114: 1%—2% of the school population
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- Page 125 and 126: 'Within individual schools in certa
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- Page 139: 207 The role The rple of the teache
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- 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
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- Page 157 and 158: potential. The exceptional situatio
- Page 159 and 160: We have developed our arguments in
- Page 161 and 162: wherever possible, co-ordinate the
- Page 163 and 164: AppendixOur arguments in this repor
- Page 165 and 166: Evening classes range from life-dra
- Page 167 and 168: to work with them. CSE groups with
- Page 169 and 170: from other schools to watch two lec
- Page 171 and 172: the cost). Groups of children have
- Page 173 and 174: iii as a special authorised charge
- Page 175 and 176: BibliographyAdvisory Council for Ad
- Page 177 and 178: Kerr, J F 1968 Changing the Curricu
- Page 179 and 180: NotesThe Issues1 For a description
- Page 181 and 182: the philosophy of Ludwig Wittgenste
- Page 183 and 184: for candidates between the 100th an
- Page 185 and 186: their education full-time in school
patterns ofa tra<strong>in</strong><strong>in</strong>gb liaisone co-operationd evaluation210 <strong>The</strong> <strong>The</strong>se new forms of work make new demands on bothneed for teachers and artists. This suggests the need for appropriatetra<strong>in</strong><strong>in</strong>g tra<strong>in</strong><strong>in</strong>g for those <strong>in</strong>volved.For those who hope to have full-time employment <strong>in</strong> thisarea — as with arts education companies — a susta<strong>in</strong>edcourse of professional tra<strong>in</strong><strong>in</strong>g will be valuable. Neitherexist<strong>in</strong>g teach<strong>in</strong>g courses nor conventional arts tra<strong>in</strong><strong>in</strong>gcourses are adequate <strong>in</strong> themselves. We welcome, therefore,the development of the Community <strong>The</strong>atre Course at RoseBruford College with its emphasis on research<strong>in</strong>g <strong>in</strong>to andtra<strong>in</strong><strong>in</strong>g for these new ventures. As the course cont<strong>in</strong>ues todevelop it may provide valuable patterns for others to follow,<strong>in</strong> other <strong>in</strong>stitutions and <strong>in</strong> other art forms. For those whowill become <strong>in</strong>volved <strong>in</strong> these schemes <strong>in</strong>termittently — otherartists and teachers — preparatory workshops and shortcourses might be provided by the organisers of the scheme<strong>in</strong> the area. <strong>The</strong>se could provide opportunities to discuss:a the objectives of the schemeb the background experiences and work of those <strong>in</strong>volvede the respective roles of teachers and artistsd the facilities neededSuch courses could do much to create the right blend ofunderstand<strong>in</strong>g and co-operation between schools and visit<strong>in</strong>gartists.211 <strong>The</strong> <strong>Schools</strong> are complex organisations. Each is different fromneed for the next <strong>in</strong> terms of atmosphere and habits and patterns ofliaison work. <strong>The</strong> professional lives of teachers differ considerablyfrom those of artists <strong>in</strong> terms of daily rout<strong>in</strong>es and thenature of their <strong>in</strong>terests and responsibilities. Br<strong>in</strong>g<strong>in</strong>g thesevarious worlds together for productive work demands a flairfor matchmak<strong>in</strong>g, and tact and common-sense <strong>in</strong> organisation.<strong>The</strong> need for sensitive and <strong>in</strong>formed liaison is paramount.At a national level the appo<strong>in</strong>tment of an Education Officerto the <strong>Arts</strong> Council of Great Brita<strong>in</strong> — and the subsequentdevelopment of the Education Unit — has done much tofoster these contacts. At the regional level, the GreaterLondon <strong>Arts</strong> Association has also recognised the need for anEducation Liaison Officer. We consider such appo<strong>in</strong>tments123
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