The Arts in Schools - Calouste Gulbenkian Foundation
The Arts in Schools - Calouste Gulbenkian Foundation The Arts in Schools - Calouste Gulbenkian Foundation
for 16—19 year olds (DBS, 1980). We believe that the listedaims apply equally to the arts as to other prospective careersand that it should now be part of the policy and practice ofall such schemes to make adequate provision for this. Inparticular we would hope that the Manpower Services Commission,the Training Services Agency and their relatedschemes would begin to broaden their definition of trainingto include provision for careers in the arts.233 New Certain sections of our society are under particular difficultiesopportunities in taking up careers in the arts and we would welcome widerrecognition of this. In the performing arts, especially musicand dance, a good deal of preparatory work is needed, anda certain level of technical competence assumed beforebeing accepted on vocational courses. Because schoolscannot be generally expected to provide specialist preparation,would-be professionals are usually obliged to seek privatetuition. This can be costly and often beyond the reach ofthose in the lower economic groups. The result is an economicfilter on entry into the professional arts. Many otheryoung people discount a career in the arts for other reasons.This is not necessarily because of lack of ability. NaseemKhan in The Arts Britain Ignores (1976) comments on thevocational expectations of those from different economicand social groups:'West Indians . .. have the problems engendered by lowsocial status. Countless reports have shown them at thebottom of the ladder — in employment, education, housing.English community arts has received its impetus from theyoung middle-classes who not only have the confidence tomanipulate structures and use facilities but can also settheir faces against materialistic success.' (Khan, 1976)She sees two areas in need of encouragement: the creationof more opportunities at a working level, and the emergenceof artists and groups from ethnic minorities in the top rankof the professional arts. For this to happen both the socialand economic obstacles in the way of young, potential performershave to be reduced.234 The A different approach to identifying and developing individualWeekend abilities is that of Inter-Action's Weekend Arts CollegeArts(WAC) initiated by two local dance and drama teachers atCollege the Inter-Action Centre in Kentish Town, London. Thescheme developed from a request from a teacher for helpin providing training for a talented young dancer. This hasled to a range of courses in the performing arts being held137
at the centre on a regular basis. The classes are taken byprofessional teachers and the aim is to provide for youngpeople of 14+ who might want to pursue a professionalcareer in the arts or in teaching and to give them a firmbackground of techniques and confidence to prepare themfor this. The courses are aimed specifically at young peoplewho have not had sufficient opportunities to develop theirabilities to the necessary standards and who cannot affordpersonal tuition elsewhere. The classes cost 65p per sessionin 1981. Scholarships are available through a special fundfor those in particular financial need. Students must berecommended by a teacher and show a serious intention topursue the course regularly. Once accepted they follow aprofessional regime of work. One important effect of thisis to test the strength of their own ambitions and commitmentin this work. Classes are divided into Beginners, Intermediateand Advanced groups and the College now works atits present capacity of 100 students on Sunday. There arealso classes for younger children from 3—13 on Saturdays.As the scheme has progressed there have been two majordevelopments. First, some of the students have now becomeinvolved in running classes with the younger age groups andbeginners, passing on the skills which they have acquired atthe College. Second, the senior students have now formed aperformance group, Fusion: The London and CommonwealthYouth Ensemble, taking its own work in drama, dance andmusic to community groups, youth centres and other venues.235 Harnessingresources138Such schemes emphasise the value of harnessing all availableexisting resources to help make the new provision we urge.There are five areas of resource available, besides that offurther education. They are: professional arts groups andindividual artists; the youth service; voluntary arts agencies;specialist youth information agencies; broadcasting. Professionalarts support can be arranged direct with individualartists or companies, as described in Chapter 7; throughregional arts associations; and through education schemesbeing developed by many arts bodies such as the RoyalOpera House and Whitechapel Art Gallery. Voluntary artsresources range from semi-official bodies like the RoyalSociety of Arts to many different kinds of communityarts group including printshops, theatre groups, and artscentres. Youth information agencies include the NationalYouth Bureau and British Youth Council, both governmentfunded, and the privately sponsored Youthaid. The importantpossibilities of broadcasting, with its ability to reach youngpeople directly, are being developed by the main broadcastingservices and by special young adult media appointments
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at the centre on a regular basis. <strong>The</strong> classes are taken byprofessional teachers and the aim is to provide for youngpeople of 14+ who might want to pursue a professionalcareer <strong>in</strong> the arts or <strong>in</strong> teach<strong>in</strong>g and to give them a firmbackground of techniques and confidence to prepare themfor this. <strong>The</strong> courses are aimed specifically at young peoplewho have not had sufficient opportunities to develop theirabilities to the necessary standards and who cannot affordpersonal tuition elsewhere. <strong>The</strong> classes cost 65p per session<strong>in</strong> 1981. Scholarships are available through a special fundfor those <strong>in</strong> particular f<strong>in</strong>ancial need. Students must berecommended by a teacher and show a serious <strong>in</strong>tention topursue the course regularly. Once accepted they follow aprofessional regime of work. One important effect of thisis to test the strength of their own ambitions and commitment<strong>in</strong> this work. Classes are divided <strong>in</strong>to Beg<strong>in</strong>ners, Intermediateand Advanced groups and the College now works atits present capacity of 100 students on Sunday. <strong>The</strong>re arealso classes for younger children from 3—13 on Saturdays.As the scheme has progressed there have been two majordevelopments. First, some of the students have now become<strong>in</strong>volved <strong>in</strong> runn<strong>in</strong>g classes with the younger age groups andbeg<strong>in</strong>ners, pass<strong>in</strong>g on the skills which they have acquired atthe College. Second, the senior students have now formed aperformance group, Fusion: <strong>The</strong> London and CommonwealthYouth Ensemble, tak<strong>in</strong>g its own work <strong>in</strong> drama, dance andmusic to community groups, youth centres and other venues.235 Harness<strong>in</strong>gresources138Such schemes emphasise the value of harness<strong>in</strong>g all availableexist<strong>in</strong>g resources to help make the new provision we urge.<strong>The</strong>re are five areas of resource available, besides that offurther education. <strong>The</strong>y are: professional arts groups and<strong>in</strong>dividual artists; the youth service; voluntary arts agencies;specialist youth <strong>in</strong>formation agencies; broadcast<strong>in</strong>g. Professionalarts support can be arranged direct with <strong>in</strong>dividualartists or companies, as described <strong>in</strong> Chapter 7; throughregional arts associations; and through education schemesbe<strong>in</strong>g developed by many arts bodies such as the RoyalOpera House and Whitechapel Art Gallery. Voluntary artsresources range from semi-official bodies like the RoyalSociety of <strong>Arts</strong> to many different k<strong>in</strong>ds of communityarts group <strong>in</strong>clud<strong>in</strong>g pr<strong>in</strong>tshops, theatre groups, and artscentres. Youth <strong>in</strong>formation agencies <strong>in</strong>clude the NationalYouth Bureau and British Youth Council, both governmentfunded, and the privately sponsored Youthaid. <strong>The</strong> importantpossibilities of broadcast<strong>in</strong>g, with its ability to reach youngpeople directly, are be<strong>in</strong>g developed by the ma<strong>in</strong> broadcast<strong>in</strong>gservices and by special young adult media appo<strong>in</strong>tments