The Arts in Schools - Calouste Gulbenkian Foundation

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Clifford Romany, Headmaster, Kingsthorpe Upper School,NorthamptonJohn Stephens, Staff Inspector for Music, Inner LondonEducation AuthorityD Llion Williams, Director, North Wales Arts AssociationObserverOrganisingSecretariesIrene Macdonald, Senior Education Officer, Arts Councilof Great BritainNicholas Usherwood until December 1980Claire Seignior from January 1981Terms of ReferenceTo consider the place of the arts as part of the school curriculum in themaintained sector of education, and to make recommendations.vii
Foreword by the Chairman of the InquiryThe Calouste Gulbenkian Foundation, Lisbon, operates three programmesin the United Kingdom through its United Kingdom Branch. These cover thearts, education and social welfare. Within each programme are carefullydefined priorities set out and explained in the Branch's annual report. Thepriorities vary from time to time but provide a framework for the Foundation'stwin functions of responding to applications and launching initiativeson its own behalf.These functions require the officers of the Branch to maintain contactwith a wide range of opinion — from individual artists and social activists toelected representatives in central and local government, Ministers and othernational leaders.At one such meeting, early in 1977, Peter Newsam, Education Officer ofthe Inner London Education Authority, and I were discussing the publicdebate on education, particularly references to a core curriculum and arecurrent emphasis on the three Rs. These seemed to exclude, not only thearts, but also some of the principles upon which the idea of a general educationhad been developed in Britain since the Education Act of 1944. If ourassessment was correct, these public discussions would have profoundimplications for all education. Both of us saw the arts as a test case in thisrespect. We agreed that it was important to pursue these issues, but only ifsuch an inquiry were undertaken by an independent body. We had in minda review of the national situation, drawing on the experience and viewsof an advisory committee representing a cross-section of educational interestsand responsibility.The Board of the Calouste Gulbenkian Foundation in Lisbon approvedthe initiation of the Inquiry and the Advisory Committee first met in September1978. Early in 1979, whilst working on the first draft of the report,the significance of our work seemed to be changing under pressure of economiesalready introduced by the Labour Government. We appointeda drafting committee to assess the changes: Dr. Ken Robinson, ProfessorDavid Aspin and Professor John Allen joined Nicholas Usherwood and me.By early 1980 the effects of the Conservative Government's educationalpolicies began to be revealed as more far-reaching than at first thought. TheIX
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: The Advisory CommitteeChairmanMembe
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 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
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Child: "They said it was a march, b
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their cultural identity'. Haley's b
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life and on perceptions and values
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4 Provision: the arts in primary sc
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a What should be aimed at?b What pr
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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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