The Arts in Schools - Calouste Gulbenkian Foundation

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The issues1 Reasons for In the widespread discussions which have been taking placethe report about the school curriculum, the arts — dance, drama, music,visual arts, literature — have been given little attention. Themajor reports and statements from the Secretaries of State,from HMI and from the Schools Council, for one reason oranother, have included only brief references to them. We considerany neglect of the arts in education to be a seriousmatter. The arts have an essential place in the balancededucation of our children and young people. This is truewhatever the social and economic circumstances of the day.In our opening chapters we will argue the educational casefor this. We are mindful, however, that any contemporarydiscussion of education has to be set against the backgroundof three main issues. These give an added urgency to ourarguments:a the profound and long-term changes in the patterns ofemployment and of unemployment, especially amongyoung peopleb the changing relationships between education andsociety as a whole which must result from thise the rate of cultural change in BritainExisting levels of provision for the arts in education areactually being threatened due to:a the effects of falling schools rollsb cuts in public expendituree some of the demands of educational accountabilityThe case for the arts in schools does not amount to specialpleading. It derives from the need for a system of educationwhich takes account both of contemporary social circum-
stances and of the perennial and varied needs of children andyoung people, for a broad-based curriculum rather than onewhich is too occupied with academic learning.We have a general concern for the kinds of curricula nowneeded in schools. We have a specific concern with thearts. What benefits can the arts confer on the school curriculumand what steps can be taken to realise them? We seethese general and specific concerns as intimately related in anumber of ways.2 Education The roles of schools in preparing children for employmentandhave been emphasised repeatedly in the current discussionsemployment on the curriculum. In the secondary school a premium isoften placed on examination courses and academic qualifications.We believe this emphasis to be misplaced for threereasons.a Living in the presentTo see education only as a preparation for somethingthat happens later, risks overlooking the needs andopportunities of the moment. Children do not hatchinto adults after a secluded incubation at school. Theyare living their lives now. Helping them towards anindependent and worthwhile life in the adult world ofthe future pre-supposes helping them to make sense ofand deal with the experiences which they suffer orenjoy in the present. The roles they adopt later andthe employment they will seek will partly depend onwhat they become as individuals — what capacitiesand capabilities are developed or neglected — duringthe formative years of education. It follows that schoolsshould enrich and broaden children's experiencesthrough a broad and balanced curriculum. Literacy andnumeracy are an important part of education. Theyshould not be mistaken for the whole of it.b Structural unemploymentWe face a future in which opportunities in many acceptedareas of employment will continue to decline. Levels ofunemployment are especially high among young peopleand school leavers. 1 This is not a passing feature ofthe recession. It is the result of long-term structuralchanges in the industrial economies. One aspect of thisis the development of new technologies. These threatenvery much higher levels of unemployment and redundancyin future, not only in industry but also in commerceand in the professions. 2 All this indicates profoundchanges in the established patterns of working life and
Page 1 and 2: THEARTSSCHOOLSPrinciples, practice
Page 3 and 4: © 1982 Calouste Gulbenkian Foundat
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: REFERENCESArts in Schools Project (
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
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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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We will first outline five main are
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186 Arts In the schemes we have jus
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schemes. The Arvon Foundation, for
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is likely to give his teaching rele
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periods of time. There are possibil
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207 The role The rple of the teache
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to be essential to the future devel
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scheme. The Charlotte Mason College
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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
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Germany 18% of the workforce has be
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outes for the visual arts. In parti
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at the centre on a regular basis. T
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potential. The exceptional situatio
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We have developed our arguments in
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wherever possible, co-ordinate the
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AppendixOur arguments in this repor
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Evening classes range from life-dra
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to work with them. CSE groups with
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from other schools to watch two lec
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the cost). Groups of children have
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iii as a special authorised charge
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BibliographyAdvisory Council for Ad
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Kerr, J F 1968 Changing the Curricu
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NotesThe Issues1 For a description
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the philosophy of Ludwig Wittgenste
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for candidates between the 100th an
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their education full-time in school
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The Arts in Schools - Calouste Gulbenkian Foundation

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