The Arts in Schools - Calouste Gulbenkian Foundation

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is a need, in achieving this, to improve the quality ofin-service training and advisory work. We very muchregret that economies are being made in these two vitalareas of education and want to emphasise the dangers inthis, in both the short- and the long-term, for thegeneral quality of education.e Co-ordination and continuityWe are dealing in this report with the value of the arts inall schools, for all children. Some of the problems wehave touched on lie outside the immediate control ofschools and teachers. Some others do not. In particular,there are those which arise from a lack of co-ordinationand continuity in arts education. There are three aspectsto this. First, there is little contact between teachersworking in different arts — even within the same schools.Second, there is little co-ordination between the threemain sectors of education, primary, secondary andtertiary, and, as a result, too little continuity in children'sand young people's arts education. Third, there is toolittle contact between educationalists and professionalartists. We see a need to tackle these problems ofliaison and want to propose some strategies for doingthis and to bring attention to existing ways in which thisis being done.5 Attitudes These are some of the many practical problems confrontingto the arts the development of the arts in schools. Some of them are todo with a lack of resources: others are not. They are theresult of long-established attitudes towards the arts whichdeprive them of an equitable share of the resources which doexist. To those who see education mainly as a preparation forwork, it may seem that the arts are unimportant for childrenin schools unless they intend to make a career in them. Or, ifthey have a value, it is merely as leisure time pursuits outsidethe formal curriculum. For those who see education mainlyas the pursuit of academic achievement, the arts may seemunimportant except for 'less able' children.We seek to correct such misconceptions. In doing so, wewill reject any tendency to polarise the issues. We do notaccept that the quality of education can be improved only byfocusing on high standards of literacy and numeracy througha specialised curriculum; by choosing between, for example,science or arts, vocational qualifications or education forleisure. We reject these polarities for two reasons. First, allof these should be represented in a well-balanced curriculum.Second, each stands to gain through being taught in conjuctionwith the others. As HMI have indicated, literacy and numeracy
seem to improve when taught as part of a broad-basedcurriculum. 6We are not arguing against the pursuit of academic excellence.We are arguing that the level of concern with this inschools is misguided, wasteful and unjustified — socially,educationally and economically. What children and youngpeople urgently need is a varied general education which seesthe acquisition of knowledge and practical skills as integralparts of personal development.6 All of the Our arguments in this report refer to all of the arts — music,arts dance, drama, poetry, literature, visual and plastic arts. Wedo not deal with them separately because we want to emphasisewhat they have in common — both in what they jointlyoffer education and in the problems they jointly face. Instressing these points we also recognise that there is anoverlapping relationship between the arts and the crafts, aswell as new possibilities in what is now known as design education.We welcome, therefore, the recent formation of theEducation Committee of the Crafts Council and their investigationof the teaching of crafts in schools. We lookforward to being able to clarify further the nature of theserelationships in the light of their work. 77 The arts As a result of this Inquiry we see the arts making vital conandeducation tributions to children's education in six main areas whichwe discuss in detail in the coming chapters:10a In developing the full variety of human intelligencePhilosophers, educationalists and psychologists in a longtradition agree that human rationality is differentiatedinto a number of distinctive modes of understanding.These are expressed in the varying languages of, forexample, gesture, number, deduction and induction, ofmorals, religion and aesthetic judgement.The logico-deductive aspects of academic study areimportant. The problem is that other aspects of intelligenceare often seen as less important or even opposedto this. We emphasise the equal value of experience andachievement in these other areas of human capability.The arts are fundamental ways of organising our understandingof the world and call on profound qualities ofdiscipline and insight. They must be included in educationwherever schools are concerned to develop thefull range of children's intelligence and abilities.b In developing the ability for creative thought and actionAs the rate of change accelerates in all areas of social
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 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: likely to be measured publicly by e
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
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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
Page 185 and 186:
their education full-time in school
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