The Arts in Schools - Calouste Gulbenkian Foundation

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The arts insecondaryschools7 The arts should be accorded equal status with othermajor areas of the curriculum and this should be reflectedin the allocation of resources.8 Head teachers and those responsible for the timetableshould recognise the different requirements of the variousarts and take these into account in tackling matters ofprovision.9 The need should be recognised for a policy for all of thearts in schools and arts teachers in the same school shouldtherefore discuss and co-ordinate policies wherever possible,and especially in relation to the allocation of time andfacilities.10 The need should be recognised for work in the arts todevelop into the 4th, 5th and 6th forms of secondaryschools and opportunities for this to happen shouldbe made available outside examination courses.11 Patterns of assessment should take account of the princi-pies and objectives of arts education and of the nature ofaesthetic experience and development.Assessmentandevaluation12 Since we believe that in their practice and assessment thearts should be seen as providing experience of positiveachievement in schools:a the use of profile reporting in the arts should be fullyinvestigatedb the appropriateness and usefulness of criterion-referencedtests in the arts should be fully investigated.13 Examinations should not be seen as the means of legitimisingthe arts in schools.14 Discussions on more effective and responsive forms ofassessment and evaluation should involve employers andother interested groups, including parents.15 Local Education Authorities should give special consider-ation to the needs of the gifted, the disabled and ofethnic minority groups.Specialneeds16 To this end, Local Education Authorities should:a make available extra help and tuition to those withspecial gifts and talents in the arts and143
wherever possible, co-ordinate the use of staff andresources between schoolse be prepared to provide awards to individual childrenbelow the age of 16 for special tuition in dance andmusicd be prepared to provide those above the age of 16 withgrants and awards to undertake vocational training inthe artse provide for expert advice to assist in the identificationof those with special needs in the artsf identify and respond to special needs in the arts by theprovision of in-service courses for teachers and administratorsg keep careers teachers fully informed of opportunitiesfor vocational training in the arts.17 Special provision should be made by arts funding organis-ations and Local Education Authorities together to helpprepare professional artists to work in schools.Artists andeducation18 Schools should recognise the mutual benefits of workingcontacts between children, teachers and artists and shouldencourage visits and joint projects.19 Schools and artists should be matched with care, anddetailed preparation and follow-up should be seen asessential elements in such projects.20 The importance of quality rather than quantity of contactshould be recognised and in recognition of this closeattention should be given to the evaluation of currentschemes involving artists in education.21 Arts funding organisations should be prepared to helpLocal Education Authorities to meet the costs of professionalperformances by artists where these are part ofan educational course.22 Closer working contacts should be developed betweenLocal Education Authorities and Regional Arts Associations,specifically through the appointment to the latterof Education Liaison Officers.Beyond theschool23 Schools should consider ways of making specialist facilitiesand resources for the arts available for broader use by thecommunity.24 Opportunities should be available for students in Further144
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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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135 Respon- If education involves t
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we look at, or participate in, visu
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MotivationalChildren on examination
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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 and 142: to be essential to the future devel
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 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: We have developed our arguments in
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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