The Arts in Schools - Calouste Gulbenkian Foundation

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Education to pursue interests in the arts as part of generalcourse work.25 In considering arts activities with and by adults, artsfunding organisations should consider ways of relaxingthe distinction between professionals and amateurs.In addition26 Given the importance of the arts and of creative workwithin broadcasting and the printed media, considerationshould be given to an Arts for All campaign, supported bythe media and funded by arts bodies.27 The National Youth Bureau should consider establishing astanding conference for the Arts in the Youth Service toformulate policies and priorities so as to create an awarenessof the importance of the arts for young people andto promote relevant action.28 One of the redundant colleges of education should bedeveloped by the Department of Education and Scienceinto a centre for initial and in-service training of Youthand Community Arts Workers leading to appropriatequalifications, and combining research into theory andpractice of the arts in these areas.29 Provision should be made for work in the arts in theinitial training courses of all students preparing to work inprimary schools.30 Consideration should be given to making some work inthe arts a compulsory element in the professional studiessections of both BEd and PGCE courses of studentspreparing to work in schools.31 The Department of Education and Science should undertakea survey to examine, after the cuts of recent years,what now remains of the provision for initial training ofteachers in the arts, paying particular attention to thebalance between, and the relationship of, practical andtheoretical courses.32 A National Council for Arts Education should be establishedto promote the development of the arts in educationand to pursue the recommendations of this report.145
AppendixOur arguments in this report are based on experience of the arts and educationin schools throughout Britain. They have also been informed byinternational developments in this field in the USA, Canada, Australia andin many European countries. We have used examples of practice at a numberof points in the report. Many more could be given of the diversity of thiswork and of the wealth of its actual and potential contribution to education.The following accounts of practice lend further support to some of thespecific points we have been making.1 The arts and community education: one Leicestershire school's approachThe schoolThis is a 14—18 Upper School combined with a Community College.The school is maintained by the local education authority but has a selfbudgetingCommunity Education Programme. Under the authority's generalarrangements, children transfer to upper schools from 11—14 high schools.The curriculum is built around a core of subjects taken by all pupils. Thecommunity programme is independent of, but associated with, the schoolcurriculum and is intended to be as flexible and wide-ranging as possible.The curriculumEach pupil participates in the core curriculum which comprises English,mathematics, science, humanities/social studies, PE and one design subject.This comprises a range of activities including drama, music, dance, art,woodwork, metalwork, needlework etc. Pupils opt for one of these. All ofthe core activities are either CSE or GCE courses. In addition to these, thepupils can take another design activity as an examination or a non-examinationoption.The pupilsThe school has a yearly intake of 500 pupils. These are divided on entryinto four mixed ability divisions, and then into seven tutor groups. Pastoralcare is the responsibility of the Division Heads, Group Tutors and Heads of146
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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
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ible to some form of appropriate as
Page 111 and 112: 94more in-service training provisio
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Page 115 and 116: tuition under well qualified teache
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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
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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 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: wherever possible, co-ordinate the
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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