The Arts in Schools - Calouste Gulbenkian Foundation

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want to draw attention to some of the fundamental motiveswhich inform this movement and to endorse their value inprinciple within the terms of this report.220 Potential First, we have emphasised that education must take accountbenefits of the diversity and complexity of children's interests and experiencesas members of varying cultural groups. This schooland others seek to do this directly by dissolving the institutionalbarriers of education and by opening the school as ageneral resource for local people, The emphasis here is onincreasing both the quantity and the quality of opportunitiesfor learning and development.Second, there is a recognition of the important relationshipswhich must be fostered between children and the adultworld. Adults not only use the facilities of the school duringthe day, they also participate in some of the same lessonswith pupils on GCE courses. Staff at the school have commentedon the positive benefits this has had on the attitudesof the pupils themselves to the work by giving it a differentstatus for them.Third, the need for, and the value of, co-operation andco-ordination is illustrated in two ways:a between groups and organisations in joint ventures ofcommon interest as with the links between the schooland the local arts associationb in promoting the multi-purpose use of expensive plantand equipment. This school is used day and evening andduring weekends and holidays. This has benefits on allsides: the community education programme is fundedby it and local groups have space and facilities for theirown workFourth, the benefits in these undertakings are mutual. Thelocal community is helping to broaden and enliven the workof the school, whilst the community itself is, potentially,being enriched by the new opportunities which are madeavailable both materially and educationally. It is here aboveall, in the reciprocation of benefits and opportunities, thatthe real value of community-based education lies. Artsactivities and events can play a key part in this process ofexchange and development through bringing together youngand old, men and women from all sections of the communityfor productions of plays, and concerts; in mounting exhibitionsof pictures, sculpture and pottery; for dances, readings and soon. In these ways a community can enrich its environmentand social existence and add to its sense of identity and purpose.Such provision need not entail significant extra expend-129
iture. It does require a different attitude to the use of existingresources to meet the demand of further educational opportunitybeyond the period of compulsory education. Thisbrings us to our second area of discussion: continuing education.221 What is We have commented on the limitations of seeing educationcontinuing simply as a preparation for work and on the restrictions thiseducation? can inflict on the curriculum. The corollary is that educationis something which happens only to children and to youngpeople. A recent discussion paper on continuing educationcalls this the 'front-loading' model of education, in which:'as much education as possible is taken on board at thebeginning of life. The student is thus issued with all thenecessary educational supplies to cope with another 50or so years of adulthood.' (ACACE, 1979,plO)This preparation idea limits not only the breadth butalso the length of education. 3Those who do go on to some form of education or traininggenerally do so to get qualifications for more highly paid,more highly regarded jobs. The vocational emphasis, therefore,is very much stronger beyond compulsory educationthan during it. In discussing continuing education we have inmind more than vocational courses and more, therefore, thanis generally understood by further or higher education.Continuing education includes these and it embraces adulteducation; but it is intended to suggest a broader principle —that of providing educational opportunities for whoeverwants them, when they want them, irrespective of age oremployment. As employment patterns continue to changeand, with them, the balance between work and non-workbetween the employed and the unemployed, the notion ofcontinuing education will become increasingly significant.222 The range The range of current provision is large but uncoordinated.of continuing If we consider the immediate divisions among those movingeducation on to full-time education at 16+, there are those who are:130a hoping to complete at least a two year course and thengo on to further or higher educationb hoping to complete at least a two year course and thenget a job, perhaps involving some part-time furthereducation/traininge hoping to study for one year and then get a job perhapscombining this with further education/training
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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
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in upper schools. Associated with t
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120 A Implicit in such proposals is
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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
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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
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Page 119 and 120: 102by professional musicians, many
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Page 123 and 124: classroom teacher. Nevertheless, th
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Page 127 and 128: implications of different types of
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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
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Page 143 and 144: scheme. The Charlotte Mason College
Page 145: d education is something that only
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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