The Arts in Schools - Calouste Gulbenkian Foundation

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83 A vicious Teachers are themselves a product of the educational procirclecesses whose imbalance we have been criticising. If theyfeel ill at ease in the arts and unable to organise these essentialexperiences for children, it may be because they weredenied them as children. This strengthens our argumentabout the long-term dangers of lop-sided educational priorities.For the cycle is self-perpetuating. Teachers are amongthe successes of the education system. It is not surprisingthat they tend to maintain the practices which nurtured theirsuccess and to limit their involvement in the areas whichthey themselves were educated to neglect.84 Initial Initial training for primary school teachers is often deficienttraining in two ways: either it includes no compulsory arts elementat all, or students only practise the arts at their own level,with little guidance in applying them to work with specificage groups. Educational theory tends to compose a separatepart of the course. The new patterns of degree courses havenow brought an even greater emphasis on theory. This isleading to a further neglect of practical and applied courses,despite the obvious need for balance. This makes the currentoutlook bleak for improving the arts in primary schoolsthrough existing initial training courses. While teachersthemselves have little experience, low expectations and evenless confidence in the arts, these will continue to be passedon to children.85 Whatare thepossiblesolutions?We see a need for three kinds of action here:a the inclusion of a compulsory arts element in all initialtraining courses for primary school teachersb the appointment of teachers with specialist arts trainingin primary schoolse the development of school-based in-service training inthe arts86 An arts If the long-term prospects of the arts in primary schools areelement in to improve, three provisions need to be made in the coursestraining of all students on initial training courses as general classroomteachers. Making due allowance for the differences in availabletime, we see these as equally necessary elements in theprofessional studies sections of both BEd and PGCE courses.— General theoretical studies which encourage an appreciationof the importance of the arts in the balanceddevelopment of the child.— Opportunities for students to work at their own level ina variety of art forms combined with guidance on57
techniques and resources for working with different agegroups.— Opportunities to develop personal interests and practicalabilities in a chosen area of the arts.It follows, in all cases, that the use of the arts should beencouraged in, and be included in the assessment of, allperiods of teaching practice. We are not calling here for allstudents to be trained, against other wishes, as arts specialists.We are urging that they be made aware, as part of theirformal studies, of the importance of the arts and of thepossibilities they present for enriching and enlivening thewhole curriculum. We believe that no conscientious trainingfor primary schools can leave these things to chance.87 Theneed forspecialistsThe insistent problem with specialist training is that therelatedness of the various parts of the curriculum, and thepossibilities for inter-disciplinary work, are easily overlooked.Nevertheless, the inadequacy of a good deal ofarts teaching in primary schools does call for more teacherswith specialised knowledge and skills to be appointed. Thiswould certainly help to raise the quality of work in individualclassrooms. What of the quality of work in the school as awhole?88 The We have emphasised the high quality of work in manyAdvisory schools and authorities. The work of the Advisory ServiceService has always played a key role here. The Adviser provides avital means of communication between schools and betweenthe different sectors of education across an authority. This isessential for the co-ordination of resources and policies andalso for the provision of appropriate in-service training.Recognising that many primary teachers do not feel equippedby their general training to teach dance, for example, theInner London Education Authority (ILEA) has sought toprovide in-service training and support through:58a courses on specific aspects of dance — from singlesessions to courses extending over several weeksb arranging for teachers of dance to visit schools towork with the class teachere occasional secondments of advisory teachers from aschool to work on particular dance projectsd arranging for selected dance groups to visit and workin schoolse enabling teachers to take groups of pupils to selecteddance performances in public theatres
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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
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: performing arts — music, dance an
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
Page 87 and 88: art, craft, home economics, music a
Page 89 and 90: FIGURE 2SHEPSHEDCOMMUNITYCOLLEGEope
Page 91 and 92: 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
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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
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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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