The Arts in Schools - Calouste Gulbenkian Foundation

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Authority has been its acquisition for schools of a wide variety of contemporaryworks of art, especially by young artists of national repute orpromise.Andrew Fairbairn comments:'In a world of change the pacemakers in the arts are travelling as fast asthe scientists. We have tried so far as possible to expose the children inLeicestershire schools to the arts of the contemporary world . . . Possiblythe greatest advantage of the arts is that they act as a catalyst in thegeneral life of the school. So long as they are treated not as an academicexercise, but with vitality, they appear to release energy and add sparkleand inventiveness to the general life of the school. They pay for themselvesby quickening the whole tempo.'Finding the moneyBuying works of art can be costly for individual schools. How thenhas Leicestershire helped schools and colleges to make acquisitions andmaintain the kind of turnover which this policy implies? There are fourmain strategies. Works are bought:i as part of the capital cost of a new school building or extension. Theauthority for this depends upon:a the Department of Education and Science's advice to local educationauthorities that a ceiling of one half of one percent of the gross buildingcost may be spent on works of art for new educational buildingsb on the resolution of the Finance Committee of the former CountyCouncil in May 1969 that one quarter of one per cent of the buildingcost of educational capital projects should be expended on the provisionof sculptures, works of art or other similar emblishments, as partof the authorised capital cost of new school buildings or extensions —this being one half of the amount which the DBS would be preparedto supportii by direct purchase of stock. Issues from stock are made for a number ofspecified purposes, e.g.a the County Collection — a collection of pictures paid for by the LeicestershirePublications Accountb Capitation Allowances — pictures chosen by schools and charged to theCounty Fund as part of their Capitation Allowancee Special Grants — specifically authorised by the Local Education Authorityand charged to the County Fund (usually part of furniture andfittings)d private funds — paid for out of some special school funde capital accounts (initial stock) — the initial furniture vote of every newschool contains a sum for pictures155
iii as a special authorised charge to the Leicestershire Publications Account.Each year, the Education Finance and General Purposes Committee hasauthorised expenditure from Leicestershire Publications Account, theamount depending on the net amount available from royalties etc. It hasbeen usual for the former Authority to cover purchases for the CountyCollection and, in most years, sums of between £500 and £1,000 havebeen so authorised.iv as part of the capitation allowances for schools. The works of art whichare charged to capitation allowances are mainly those from stock asindicated above, and small items might be purchased direct.Once a year the Authority holds a Sale of Works of Art, paintings, ceramics,textiles from young and from established artists. All schools are invited tothis sale to buy from their allowances and private funds for their schoolhalls, libraries, corridors and classrooms. More recently the Authority hasacquired from the Tate Gallery's Institute of Contemporary Prints theremainder of a collection of limited editions of lithographs. These will besent out to a small number of schools with fifth and sixth forms for circulationto students who will be able to have them at their home for a termor so — the only condition being that the school buys a picture or lithographfrom the Annual Sale, passing one of the original lithographs to anotherschool.In Devon the Authority is also pressing to increase the availability ofworks of art to schools. One scheme involves a negotiated purchasing linkbetween the artists-in-schools scheme and the County's own collection oforiginal works of art. It has been agreed that 30% of funds available topurchase works of art should be used to purchase works by artists whohave worked in schools in Devon. This will enable schools to have, on loan,first-hand examples of the work of artists they have been involved with.There is also a link between the County collection and the collection maintainedby South West Arts. The County makes works available, throughSouth West Arts, to local community arts festivals. The Arts Associationsreciprocate by allocating sections of their own collection for use by theCounty.5 Artists and Children: Speaking from ExperienceFor artists the experience of working with children can have direct rewardsby enriching their own work. Edward Storey has had long experience ofwork in schools:156'As a writer, I am frequently invited through the Eastern Arts Association,to work in schools: not necessarily with children who want to write butwith classes of mixed ability. The age group I prefer is 9—12 year olds,though I have worked with younger and older children. The scheme hasprovided me with some of the most rewarding experiences I have had andI am totally committed to the value of this work in education. The
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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
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94more in-service training provisio
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1%—2% of the school population
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tuition under well qualified teache
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it is likely that more children wil
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102by professional musicians, many
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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
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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 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: the cost). Groups of children have
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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