The Arts in Schools - Calouste Gulbenkian Foundation
The Arts in Schools - Calouste Gulbenkian Foundation The Arts in Schools - Calouste Gulbenkian Foundation
work in the worlds of business, industry, commerce, scienceand the arts.Creative work has to stand on the shoulders of previouswork and understanding in the discipline in question. In allof them we have to do the hard work of learning the grammarand syntax of the various modes of understanding as part ofour attempts to make advances or innovations within them.This is no less true of the arts than of the sciences. We haveto learn to walk before we can run, much less fly. One hasonly to watch the efforts of dancers warming up, of actorsliving themselves into a role, of painters' close attentionto single strokes, of musicians struggling to find the rightsound, and the long hours of practice for all to realise thatoriginal work, brilliance, even genius, in the arts requires asmuch discipline, control and patience, knowledge and visionas that of any engineer, historian or scientist struggling tosolve a problem, find the evidence or falsify a hypothesis.But as James Gribble remarks:'We do not try to get children to think up scientifichypotheses or put themselves in the shoes of historicalpersonages or paint pictures in order to develop theircreativity or imaginative ability. For what we mean bydeveloping creativity or imaginative ability is gettingthem to perform these varied tasks as well as they areable.' (Gribble, 1969, p!03)42 The role The role of the teacher in the arts is at once vital and comofthe plicated. The task is not simply to let anything happen inteacher the name of self-expression or creativity. Neither is it toimpose rigid structures of ideas and methods upon thechildren. The need is for a difficult balance of freedom andauthority. In principle, everybody can be enabled to developtheir knowledge and skill to a point at which they canbecome innovators. Their doing so depends on their interestand commitment to, and on the extent and quality of theirexperience in, the work in question. Some of them will be,or will become better than others in some areas of work —both in what they produce and in the skills they develop.This is what is implied in the concept of giftedness (seeChapter 7). It will still need a solid basis of teaching andlearning according to the principles we have outlined ifsuch gifts are to develop fully. In each of the arts, it is, asRyle (1967) remarked, the teacher's job to show the pupilsthe ropes. It is up to the pupils to climb them. And in somecases, as he wisely added, teachers must realise that theirpupils may be able to climb faster and higher — sometimesmuch higher — than they can.33
43 Freedom Two further points must be stressed. First, teachers mustand avoid giving the impression that only their views count. Ifauthority we want to promote independent, critical and creativethinking, we shall be working against ourselves if we try toachieve these things by methods of teaching which stifleinitiative and promote the acceptance of some authoritarianfiat of a body of elders or establishment. If the stress is uponconformity of response and acceptance of established ideas,we can hardly expect the emergence of critical and creativework as a direct result. The balance is difficult to strike.The teacher must promote the application and disciplinewhich underpin all creative work but allow for the newdepartures in thinking and doing by which it is characterised.There is a difference then between what we may call teacherinputs which may need to be closely structured and theteacher's responses to what the children produce as a result,which ought to be flexible and open-ended. This brings usto our second point. To encourage creative work we mustput a premium on the pupils' own original ideas wheneverpossible; setting them to use these either to produce newwork or new interpretations, or to propose novel approachesto the solution of problems for which their existing knowledgeor skills provide only partial or inadequate solutions.We are talking here not only about the arts but alsoabout, work throughout the curriculum. If we wish to developyoung people's creative capabilities, we would do well toheed the results of research 8 which argues that only in classroomswhere there is an emphasis on self-directed and selfinitiatedwork — keeping in mind the principles we havediscussed — will there be any departure from the pressuresof conformity, convention and repetition that characteriseso much work in our schools at present.These pressures are particularly acute where the rigidrequirements of certain types of public examinations andthe teaching methods associated with them act as stultifyingconstraints upon pupils' sense of initiative.Downey and Kelly summarise some apposite conclusionsby Torrance which might provide helpful guidelines here.34'Torrance's suggestions are that teachers should be respectfulof children's unusual questions and ideas, showingthem that these ideas have value. They should provideopportunities for self-initiated learning and for periodsof non-evaluated practice, indicating that whatever childrendo may be of some value and is not constantly going tobe assessed by some absolute criterion of correctness setup by teachers. This emphasises not only the need tovalue children in then: own terms, by acknowledging the
- Page 1 and 2: THEARTSSCHOOLSPrinciples, practice
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- 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.
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- 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
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- Page 35 and 36: 1 Education, schooling and the arts
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- Page 39 and 40: for certain forms of artistic activ
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- Page 61 and 62: their cultural identity'. Haley's b
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- 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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- Page 89 and 90: FIGURE 2SHEPSHEDCOMMUNITYCOLLEGEope
- Page 91 and 92: in upper schools. Associated with t
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43 Freedom Two further po<strong>in</strong>ts must be stressed. First, teachers mustand avoid giv<strong>in</strong>g the impression that only their views count. Ifauthority we want to promote <strong>in</strong>dependent, critical and creativeth<strong>in</strong>k<strong>in</strong>g, we shall be work<strong>in</strong>g aga<strong>in</strong>st ourselves if we try toachieve these th<strong>in</strong>gs by methods of teach<strong>in</strong>g which stifle<strong>in</strong>itiative and promote the acceptance of some authoritarianfiat of a body of elders or establishment. If the stress is uponconformity of response and acceptance of established ideas,we can hardly expect the emergence of critical and creativework as a direct result. <strong>The</strong> balance is difficult to strike.<strong>The</strong> teacher must promote the application and discipl<strong>in</strong>ewhich underp<strong>in</strong> all creative work but allow for the newdepartures <strong>in</strong> th<strong>in</strong>k<strong>in</strong>g and do<strong>in</strong>g by which it is characterised.<strong>The</strong>re is a difference then between what we may call teacher<strong>in</strong>puts which may need to be closely structured and theteacher's responses to what the children produce as a result,which ought to be flexible and open-ended. This br<strong>in</strong>gs usto our second po<strong>in</strong>t. To encourage creative work we mustput a premium on the pupils' own orig<strong>in</strong>al ideas wheneverpossible; sett<strong>in</strong>g them to use these either to produce newwork or new <strong>in</strong>terpretations, or to propose novel approachesto the solution of problems for which their exist<strong>in</strong>g knowledgeor skills provide only partial or <strong>in</strong>adequate solutions.We are talk<strong>in</strong>g here not only about the arts but alsoabout, work throughout the curriculum. If we wish to developyoung people's creative capabilities, we would do well toheed the results of research 8 which argues that only <strong>in</strong> classroomswhere there is an emphasis on self-directed and self<strong>in</strong>itiatedwork — keep<strong>in</strong>g <strong>in</strong> m<strong>in</strong>d the pr<strong>in</strong>ciples we havediscussed — will there be any departure from the pressuresof conformity, convention and repetition that characteriseso much work <strong>in</strong> our schools at present.<strong>The</strong>se pressures are particularly acute where the rigidrequirements of certa<strong>in</strong> types of public exam<strong>in</strong>ations andthe teach<strong>in</strong>g methods associated with them act as stultify<strong>in</strong>gconstra<strong>in</strong>ts upon pupils' sense of <strong>in</strong>itiative.Downey and Kelly summarise some apposite conclusionsby Torrance which might provide helpful guidel<strong>in</strong>es here.34'Torrance's suggestions are that teachers should be respectfulof children's unusual questions and ideas, show<strong>in</strong>gthem that these ideas have value. <strong>The</strong>y should provideopportunities for self-<strong>in</strong>itiated learn<strong>in</strong>g and for periodsof non-evaluated practice, <strong>in</strong>dicat<strong>in</strong>g that whatever childrendo may be of some value and is not constantly go<strong>in</strong>g tobe assessed by some absolute criterion of correctness setup by teachers. This emphasises not only the need tovalue children <strong>in</strong> then: own terms, by acknowledg<strong>in</strong>g the