The Arts in Schools - Calouste Gulbenkian Foundation

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ewards and the excitement come not always from the bright child butfrom those who might have been by-passed because of their generalacademic slowness: this is one of the advantages of taking a class ofmixed-ability. I do not know the background or potential of each childand start with them therefore as equals. As writing is as much aboutfeeling as about thinking, I persuade the children that they are all capableof writing something. In this way, several children who have been presentedto me as 'slow' or 'backward' have, by the end of a session, probablyproduced the most original and imaginative piece of work.Gary, for example, was not considered bright. He was allowed to comeinto my class because he wanted to know why I was there. I was told,'Just let him sit and listen'. But I forgot and in the excitement of somediscussion we were having about life on a river, we started talking aboutthe kingfisher. I asked the children to describe the bird, with some fairlydull results. I tried again and, forgetting Gary's background, said 'Come onGary, you describe the kingfisher for me.' He said, 'I think the kingfisher'slike a living rainbow.' I said that was the sort of thing I was looking for:'That's poetry . . . that boy's using his imagination . . . Write it down,Gary, before you forget.' The poor lad blushed and confessed that hecould neither read nor write and didn't know how to spell the words. Thefear of spelling paralysed his imagination until he could see that imaginationought to come first and the spelling would eventually look after itself.Within weeks, his reading and writing had caught up with his age-groupand he became a regular contributor to the school's anthology. Whenasked to write about the sea he wrote:"The waves are roaring as if they are angryBecause the big boats keep sailing over them.I think the sea's tired of being sailed upon."Gary was ten. His imagination and his natural curiosity, when liberated,inspired him in the rest of his school lessons. Consequently the othersubjects improved as well. Children do receive something special whenthey work with an artist, a writer, or anyone who can see the importanceof education through art. I believe that through the arts people — andespecially children — become whole human beings. Art must be made toappeal to them as something living, something alive, that is about theirlives. This is what happens in our poetry classes in schools and the childrenrespond. They give it its heartbeat. They are better scholars when they arebetter people.'157
BibliographyAdvisory Council for Adult and Continuing Education 1979 Towards Continuing Education:A Discussion Paper, ACACE, LeicesterAnderson, H H (Ed) 1959 Creativity and Its Cultivation, Harper and Row, New YorkArnaud Reid, L A 1962 Ways of Knowledge and Experience, Allen and Unwin, LondonArts Council of Great Britain 1981 The Arts Council and Education: A ConsultativeDocument, Arts Council of Great Britain, LondonAssociation of Chambers of Commerce 1979 Education and Employment, ACC, LondonBennion, S 1980 'Working With Teachers' in SCYPT Journal 6, Standing Conference ofYoung People's Theatre, Cockpit Theatre, Gateforth Street, LondonBernstein, B 1971 'On the Classification and Framing of Educational Knowledge', inYoung, MFD (Ed) Knowledge and Control, Routledge and Kegan Paul, LondonBlackham, H J 1957 'Education as the Humanisation of Man' in Joint Council for EducationThrough Art Conference ReportBraden, S 1978 Artists and People, Routledge and Kegan Paul, LondonBriault, E & Smith, F 1980 Falling Roles in Secondary Schools, Vol 1 & 2, NFER PublishingCompany, WindsorBroudy, H S 1966 'The Role of the Humanities in the Curriculum' in Journal of AestheticEducation, Vol 11969 Meaning in the Arts, Allen and Unwin, LondonCalouste Gulbenkian Foundation 1975 Going on the Stage, Calouste Gulbenkian Foundation,London1978 Training Musicians, Calouste Gulbenkian Foundation, London1980 Dance Education and Training in Britain, Calouste Gulbenkian Foundation,LondonDawson, R L 1980 Special Provision for Disturbed Pupils, Schools Council ResearchStudies, Macmillan Education, LondonDe Bono, E 1970 Lateral Thinking, A Textbook of Creativity, Penguin, HarmondsworthDegenhardt, M A B 1976 'Creativity' in Philosophy and the Teacher, Lloyd, D I (Ed)Routledge and Kegan Paul, LondonDepartment of Education and Science (DBS) 1977 Gifted Children in Middle and ComprehensiveSchools, HMSO, London1977a Curriculum 11—16: Working Papers by HMInspectorate, Information Division,DBS, London1977b Education in Schools: A Consultative Document, Cmnd. 6869, HMSO, London1978 Reports on Education, No 92: School Population in the 1980s, HMSO, London1978 Primary Education in England, HMSO, London158
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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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frequencies and belongs to the Part
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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
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
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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: iii as a special authorised charge
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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