The Arts in Schools - Calouste Gulbenkian Foundation

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the Association. This kind of co-operation has great advantagesboth in long-term planning and in enabling quick responcesto immediate issues. It can also facilitate discussionson the dual funding by arts associations and local authoritiesof projects or events where their interests overlap. In the viewof the Arts Council's Senior Education Officer:'When the professional arts are involved in education, adual financial responsibility is ... the pre-requisite formature partnership and the evolution of schemes andprojects which satisfy both of the partners.' (MacDonald,1980,p38)Such funding is not always, nor necessarily, lavish. A localadviser tells of a residential weekend dance course for sixthformers. The authority provided the centre and the teachingstaff but were unable to sponsor a performance by a professionaldance company which the adviser hoped to includein the weekend's programme. In this case a small grant by theregional arts association to support this professional performancewould have had great benefits for those involved.Often, however, arts associations seem reluctant to sponsorsingle events of this type, despite their rewards. Supportingthe appointment of arts/education liaison officers to regionalarts associations is one further, and specific way in which thisprinciple of co-operation, in policy and funding, might beput directly into practice.214 The We have discussed the potential benefits and some of theneed for problems in these schemes. We endorse their value, in prinevaluationciple and consider them to be of great importance withinthe general terms of our arguments for the arts in education.Their success is not automatic, however. There is a need nowfor effective and sustained evaluation. In Chapter 6 wediscussed the need to evaluate the arts in schools in wayswhich were compatible with the experiences in question.Equally, methods of evaluation applied to these schemesmust reflect the nature of the processes involved. The aimmust be to clarify what these visits and residencies actuallyachieve for all involved — children, teachers and artists. Thismust take account of the diversity of interests and responsesand of differences of expectation and of value. The qualityof the work — rather than the numbers taking part — is thecentral criterion here, and the improvement of the work themain point.Some attempts at evaluation are now being made. TheGreater London Arts Association has convened a regularworking group to consider aspects of the Music in Schools125
scheme. The Charlotte Mason College of Education is conductinga four year study of the work of the Brewery ArtsCentre in Kendal. The Arts Council has commissioned anevaluation report of the Dance Artists in Education. Anevaluation of Writers in Schools is scheduled for the financialyear 1982—83. The Arts Council is also about to publish anevaluation of the educational activities of The ContemporaryMusic Network and is in the process of appointing a researcherfor the Photographers in Education projects. TheGulbenkian Foundation has also sponsored reports on theresidencies it has supported. 14 The value of these studies willbe in improving the quality of these schemes, just as the valueof these schemes is in improving the quality of education.215 A general Schools are often closed societies. Outside the family, teachersprinciple are the only adults with whom many children have any sustainedpersonal contact. Behind these schemes we see abroader educational principle — that of opening the schoolitself to new influences and of seeing education in a muchwider setting than schools alone. Moreover, these initiativesnot only pose challenges to accepted roles and patterns ofwork in education, they also pose alternatives to acceptedideas about the roles of artists by bringing their work to thewide congregation of interests, attitudes and beliefs whichany school represents. They are key ways of dissolving thebarriers which so often exist between the school and thecommunity and between children and the adult world. It isto these broader roles of the arts that we turn in the finalchapter.216 Summary In this chapter we have considered the new forms of contactwhich are developing between children, teachers and artists.We have outlined the range of these schemes and consideredboth their benefits and difficulties in practice. We have comparedthe roles of teachers and artists and identified fourareas where action is needed to promote the developmentand improvement of these significant initiatives. We have concludedby relating theses schemes to a view of educationwhich extends beyond the school.126
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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
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Child: "They said it was a march, b
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their cultural identity'. Haley's b
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life and on perceptions and values
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4 Provision: the arts in primary sc
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a What should be aimed at?b What pr
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composition — Western and non-Wes
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learning.' (Schools Council, 1981a,
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performing arts — music, dance an
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techniques and resources for workin
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are thinking particularly of the ar
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they will suffer disproportionately
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Second, integration can mean many t
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arts have a substantial contributio
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distributed equally and equitably a
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art, craft, home economics, music a
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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 and 110: ible to some form of appropriate as
Page 111 and 112: 94more in-service training provisio
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: to be essential to the future devel
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
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
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The Arts in Schools - Calouste Gulbenkian Foundation

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