The Arts in Schools - Calouste Gulbenkian Foundation

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The Arts in SchoolsPrinciples, practice and provisionResearched and edited byDr Ken Robinson, Professor of Arts Education,University of Warwick, and witha new Introduction 1989.Published by Calouste Gulbenkian Foundation
© 1982 Calouste Gulbenkian FoundationISBN O 903319 23 3Printed by BPCC Oyez Press Ltd, LondonFirst published 1982Reprint 1982Reprint 1983Reprint 1984Reprint 1985Reprint 1987Reprint 1989 with the addition of an IntroductionReprint 1990Reprint 1993British Library Cataloguing-in-Publication Data.A catalogue record for this book is available from theBritish Library.
Page 1: THEARTSSCHOOLSPrinciples, practice
Page 5 and 6: Chapter 4 Provision: the arts in pr
Page 7 and 8: The Advisory CommitteeChairmanMembe
Page 9 and 10: Foreword by the Chairman of the Inq
Page 11 and 12: Introduction—1989This is not a re
Page 13 and 14: and many others have done so since.
Page 15 and 16: politicians on all sides were compe
Page 17 and 18: the GCSE examination has addressed
Page 19 and 20: REFERENCESArts in Schools Project (
Page 21 and 22: stances and of the perennial and va
Page 23 and 24: significant than at present.4 The n
Page 25 and 26: likely to be measured publicly by e
Page 27 and 28: seem to improve when taught as part
Page 29 and 30: world around them.e In understandin
Page 31 and 32: ence essential to education? Why th
Page 33 and 34: 10 The artsare notoptions11 Notwith
Page 35 and 36: 1 Education, schooling and the arts
Page 37 and 38: 15 The arts This is the ground on w
Page 39 and 40: for certain forms of artistic activ
Page 41 and 42: arts — is 'merely subjective" and
Page 43 and 44: to and an understanding of certain
Page 45 and 46: school curriculum fall into this se
Page 47 and 48: one who is intelligent but who exhi
Page 49 and 50: 38 Quality Quantity by itself is in
Page 51 and 52: 43 Freedom Two further points must
Page 53 and 54:
3 Arts education and the cultural h
Page 55 and 56:
universally valued archive of stabl
Page 57 and 58:
a helps pupils to understand cultur
Page 59 and 60:
Child: "They said it was a march, b
Page 61 and 62:
their cultural identity'. Haley's b
Page 63 and 64:
life and on perceptions and values
Page 65 and 66:
4 Provision: the arts in primary sc
Page 67 and 68:
a What should be aimed at?b What pr
Page 69 and 70:
composition — Western and non-Wes
Page 71 and 72:
learning.' (Schools Council, 1981a,
Page 73 and 74:
performing arts — music, dance an
Page 75 and 76:
techniques and resources for workin
Page 77 and 78:
are thinking particularly of the ar
Page 79 and 80:
they will suffer disproportionately
Page 81 and 82:
Second, integration can mean many t
Page 83 and 84:
arts have a substantial contributio
Page 85 and 86:
distributed equally and equitably a
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art, craft, home economics, music a
Page 89 and 90:
FIGURE 2SHEPSHEDCOMMUNITYCOLLEGEope
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in upper schools. Associated with t
Page 93 and 94:
120 A Implicit in such proposals is
Page 95 and 96:
78literature and put money and reso
Page 97 and 98:
80outlined the sorts of provision t
Page 99 and 100:
used — are appropriate to the wor
Page 101 and 102:
135 Respon- If education involves t
Page 103 and 104:
we look at, or participate in, visu
Page 105 and 106:
MotivationalChildren on examination
Page 107 and 108:
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
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iture. It does require a different
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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 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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