The Arts in Schools - Calouste Gulbenkian Foundation

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of local authority institutes, three main advantages are identified:a to improve the quality of coursesb to enrich the cultural climate of the institutes and collegese to help the centres reach groups in the communityThe principal problems lie in the need for co-ordinationand liaison with funding bodies. The survey suggests forexample that some institutions have never come acrosstheir regional arts association and that others 'have onlythe cloudiest notion of what it does'.There is a clear opportunity here for RAAs to relate theiractivities to these existing structures of provision if only, as afirst step, by making information more available to suchgroups about the services and resources they can provide. Acommon barrier to this is the distinction between professionaland amateur arts. There is a case for relaxing the rigidities ofthis distinction in the area of adult education where, in termsof quality of work and levels of involvement, it is becomingincreasingly difficult to sustain.231 Training What of those who wish to pursue a career in the arts? Thefor the arts requirements for candidates and the provision now availablevary considerably between the various arts. These have been,or are now, the subject of detailed individual reports by theGulbenkian Foundation and others. The general picturewhich is emerging is of long-standing diversity and lack ofdirection slowly being brought into focus. The Gulbenkianreport on Training Musicians (1978) indicated that it is thepattern of higher education and the subsequent careerstructure for musicians which is in most urgent need ofattention rather than existing examination structures (thoughthey leave something to be desired) or the need to encourageand develop the talents of young musicians — which is atleast understood and supported if not always acted on. TheGulbenkian study of Dance Education and Training in Britain(1980) shows a different picture. Here the need to developyoung talent and encourage late-starters is still very little appreciated.It is only now that a unified system of examinationsis beginning to develop. Going on the Stage (1975) wascritical of the uneven standards of drama training and thedivision between contemporary practice in the theatre andthe forms of training often being provided by the colleges.The visual arts too are being considered in a Gulbenkianreport, Inquiry into the Economic Situation of the VisualArtist, part of which will be examining the varied training135
outes for the visual arts. In particular, there are the significantdivisions of opinion over the relative merits of design educationand fine art training, part of a far flung debate in theart world and one to which present structures of examinationshave hardly yet been related. Within the terms of this reportwe want to comment on some general points of provision.232 Getting It is not within the capacity of all schools or colleges tostarted provide the kind of specialised help which would be neededfor those hoping for careers in the arts. Nevertheless we dosee it as part of the responsibility of the maintained educationsystem to ensure that opportunities for training inthe arts are available along with other vocational courses:we also see the need for grants and awards to become statutoryrather than discretionary as they often are now. Despitethe numerous schemes which have been introduced in recentyears to try and dissipate the effects of long-term unemployment,especially among the young, careers in the arts havefailed to be given either support or, it seems, creditability.The last Labour Government's paper outlining its plans forvocational preparation for young people entitled A BetterStart in Working Life listed the aims of vocational preparationas:136'a to equip young people with certain basic skills andknowledgeb to enhance their understanding of the working environmente to motivate them and to develop their potential andextend their basic job skills and knowledged to help them assess their potential and to think realisticallyabout jobs and future prospects' (DBS and DE,1979)The paper goes on to comment that: 'In general, schoolsshould not be expected to provide specific vocational trainingfor the needs of particular occupations . . . What schoolscan be expected to supply is a foundation for vocationalpreparations.' Certainly there is much to agree with here.But nowhere in the proposals is there any mention of thearts. Instead, the paper goes on,' 'the main contribution (ofthe schools) to future vocational needs lies in the teaching oflanguage and mathematical, scientific and technical skillsand knowledge .. . the attitudes of enquiry and respect forthe views of others which all good teaching aims to encourageare also relevant and so too is an understanding of the economicand social contexts of working life.' These points areendorsed in the present government's review of Education
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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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78literature and put money and reso
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80outlined the sorts of provision t
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used — are appropriate to the wor
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Page 103 and 104: we look at, or participate in, visu
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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
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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 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: Germany 18% of the workforce has be
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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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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