The Arts in Schools - Calouste Gulbenkian Foundation

they will suffer disproportionately in future.93 The need We see a need for three general forms of action. First, morefor action research is needed into the effects of cuts and falling rollson arts provision in specific schools and areas. If an effectivelobby is to be maintained in the corridors of educationalpower, it must be supported by evidence of the problemsoccurring daily in schools.Second, prevailing attitudes to the arts need to be tackled.Many administrators, head teachers, parents, teachers andpupils, have failed to see the value of the arts — in manycases, we believe, because of their own indifferent experiencesof them at school. This pattern of indifference must bebroken.Third, the principles we have discussed in support of thearts must be applied to schools and translated into positiveaction to change the specific circumstances in which thework takes place.We will suggest guidelines for the forms this action mighttake in respect of:a the curriculum and the timetableb space and facilitiese staffing and trainingd attitudes94 Constraintsonthe artsWe can identify five common areas of constraint on the artsin secondary schools:a co-ordinationb timee space and facilitiesd attitudese examinations and assessment95 Liaison There is a lack of co-ordination and continuity in arts education:first, between the primary and secondary and tertiarysectors; second, between teachers working in differentarts in the same school. Teachers in secondary schoolsoften know nothing of what children have done, in theirown specialist areas, at primary school. Some children willhave done a good deal of dance, drama and music, othersvery little. All tend to be treated as beginners in the firstyear of secondary school at a time when, given effectiveliaison, they could already have achieved a great deal in thearts. In some arts — in dance, for example — time lost inyounger years can never be replaced. In others, such asdrama, children who have not had appropriate experience62