The Arts in Schools - Calouste Gulbenkian Foundation

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9 A Consideration of Humanity, Technology and Education, RoyalFestival Hall, 22nd—27th April 1957Chapter 11 See Aristotle: Nicomachean Ethics book 1,1094, b252 Quoted in F R Leavis, The Common Pursuit, p238.3 The notion of the 'aesthetic' is much broader than that of 'art'. Wecan have aesthetic experiences of, for example, nature and of objectsnot made as art. Nor is it only in the arts that people are creative, aswe argue in the next chapter. The arts exemplify these things.4 As George Kelly argues, experience means more than enduring. Itinvolves construing and making sense of things:'It is not constituted merely by the succession of events themselves.A person can be witness to a tremendous parade of episodesand yet, if he fails to make something out of them, or if he waitsuntil they have all occurred before he attempts to reconstruethem, he gains little in the way of experience from having beenaround when they happened.' (Kelly, 1963, p73)5 This example is taken from Sonia Egret's 'Aesthetic Meaning' in Proceedingsof the Philosophy of Education Society of Great Britain,1972, Vol 6, No. 26 This is clearly argued by Michael Polanyi. In Personal Knowledge,he writes:'True discovery is not a strictly logical performance and accordinglywe may describe the obstacle to be overcome in solving a problemas a logical gap and speak of the width of the gap as the measureof ingenuity required for solving the problem. Illumination is ...the leap by which the logical gap is crossed . . . the plunge bywhich we gain a foothold on another shore of reality. On suchplunges the scientist has to stake bit by bit his entire professionallife.' (Polanyi, 1969, p!23)7 Arnaud Reid points to the importance of this when he writes:'It is an achievement to learn to behave as a whole person, bodyand mind working together as one, not body or intellect alone . . .Watch a painter, or a cellist, or a dancer: here is the completeindivisibility and integrity of the internal and the external.'(Reid, 1957, p46)8 The activities of industrialists and businessmen are not always aimedexclusively at greater productivity and higher profit margins.The engineering activities of an Austrian family led to a brilliantpiano concerto for the left hand, to innovations in architecture and to163
the philosophy of Ludwig Wittgenstein. The engineering activities ofRobert Mayer have led to an upsurge of interest in Youth and Music.Currently, there is a welcome though as yet modest involvement ofa number of commercial and industrial concerns in sponsoring thearts.Chapter 21 See for example the Finniston Report, HMSO, 19802 See for example Ryle, The Concept of Mind, 1949; Vernon, Intelligenceand Cultural Environment, 1969; and for a good review ofrecent literature on the subject see Downey and Kelly, Theory andPractice of Education, 1979, Chapter 3.3 See for example Guilford, 1950; Getzels and Jackson, 1962 and Torranee,1964 all in the USA and Haddon and Lytton, 1968; Hasan andButcher, 1966 and Vernon, 1966 in the United Kingdom.4 See for example, Hudson, Contrary Imaginations, 19665 See for example Getzels and Jackson, 1962, p!06 and Lytton, 1973,P36 The example is from Gribble, 1969, p677 Of course we might question whether we ought to call a writer, composeror painter 'creative' on the basis of one work alone, althoughwe do not always doubt this. Consider, for example, our judgementsof Julius Reubke's single masterpiece, Sonata on the 94th Psalm.8 See for example Jackson and Messick, 1969; Haddon and Lytton,1971; Hasan and Butcher, 1966.Chapter 31 Rt. Hon Kenneth Robinson in a speech on The Arts in Society at theCockpit Theatre in London. In Ross, M (ed) 1978.2 The term 'culture' originally meant the tending of crops and animals.It developed during the 18th Century into a conception of 'civilisation'before embracing the notion of a general process of inner development.It was only in the 19th Century that it became widely associated withartḞor a discussion of this development see, for example, Williams, TheLong Revolution, 1971.3 Information on these is available from the Schools Council, InformationSection, 160 Gt Portland Street, London Wl.Chapter 41 See MacGregor, Tate and Robinson, Learning Through Drama, 1977,chapter seven.2 We do not deal separately with Middle Schools. This is because of theconsiderable variations in the age ranges for which they provide. Theapplication of our comments to Middle Schools is, we hope, apparent164
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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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classroom teacher. Nevertheless, th
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'Within individual schools in certa
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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
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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
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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 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: NotesThe Issues1 For a description
Page 183 and 184: for candidates between the 100th an
Page 185 and 186: their education full-time in school
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