The Arts in Schools - Calouste Gulbenkian Foundation

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116 Short Short, two, three or four week courses could be organisedintensive for pupils from a number of schools. An efficient deploycoursesment of staff with viable group sizes could be achievedwithout an overall increase in the curriculum time spentby the pupils on the areas in question. This is an extensionof the 6th form summer school pattern, but with a closerelationship to the daily curriculum work and possibly toexamination courses in addition to the general purpose ofenriching their experience in and of the arts. Such coursesare already common in fieldwork and with appropriatestaff and materials can prove effective for the study ofliterature, set works and practical aspects of design technology,for example. The courses need not be restricted to thesummer term.117 Holiday The involvement of committed pupils in the arts may extend,courses for some aspects of the work, to participation in coursesduring holiday periods. These could deal in detail withspecific topics or themes in music, art, drama, dance and soon.118 "Third Teachers in a number of curriculum areas involve pupils insessions' voluntary extra-curricular activities. Such sessions can allowfor great flexibility in the deployment of teachers bothwithin a school or on a co-operative basis with others.119 Specialist The establishment of specialist centres on an authority orcentres divisional basis might serve some needs of these coursesand extra sessions. There is now a significant number ofarts centres (see Chapter 8) throughout the country. Thesecan provide valuable supplementary provision for schoolsin a number of ways by providing:a specialist spaces and facilities for dance, drama, musicand visual arts beyond the resources of individualschoolsb archives of resources and informatione an appropriate working environment to intensifyconcentration (see para 99 and Appendix)The regular use of such a specialist centre on a Saturdayhas, for example, given instrumental music within the ILEAits distinctive quality. One of the positive effects of fallingrolls is to make available a number of buildings for conversionto such purposes within almost all authorities. Wemust emphasise, however, that we see such centres as supplementaryto, not a replacement for, appropriate provision inthe school.75
120 A Implicit in such proposals is a questioning of the presentchange of divisions of responsibility in education and also of theperspective school as an isolated, specialist institution. The developmentof community schools and colleges, embracing the hithertoseparate areas of adult education, youth services and communitygroups with the compulsory stages of education,is leading to a much broader view of education and of theroles of the arts within it. We will develop these points inour concluding chapter.121 The Just as for primary schools (see Chapter 4) the role of theAdvisory Advisory Service in supporting the arts in secondary schoolsService is paramount. Advisers can be of inestimable help in facilitatingcontact and co-ordination between schools and teachers,through for example:a regular meetings to discuss issues related to provision,practice and policy in and between schoolsb curriculum groups to explore in detail particular aspectsof the arts curriculum (eg questions of assessment) andto make their findings available to other teacherse informal exchanges, for example, visits by arts teachersto other schools to watch colleagues at work and toexchange ideas and viewsd documentation of syllabuses, project work and materials,resource information etce professional associations bringing together teacherswithin the arts to discuss wider educational concernsand to plan events, activities and courses of action topromote their professional interests in the schoolcurriculumThe need for such a service is especially pressing at a timewhen falling rolls and general economies call for expertadvice in questions of retraining, redeployment and there-allocation of resources in order to maintain and sustaina balanced and coherent curriculum.122 Curri- The quality of education — in the arts as elsewhere — dependsculum on the quality of contact between teacher and pupil. Fortraining the reasons we have discussed, sensitive and flexible timetablingis of prime importance. This is more likely to comeabout where arts teachers themselves are consulted andparticipate in curriculum planning. As HMI have argued:76'However detailed the knowledge, no timetabler is likelyto know everything about each teacher ... it is unlikelythat among a group of, say, eight English specialists,
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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
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significant than at present.4 The n
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likely to be measured publicly by e
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seem to improve when taught as part
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world around them.e In understandin
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ence essential to education? Why th
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10 The artsare notoptions11 Notwith
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1 Education, schooling and the arts
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15 The arts This is the ground on w
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for certain forms of artistic activ
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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
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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
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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
Page 71 and 72: learning.' (Schools Council, 1981a,
Page 73 and 74: performing arts — music, dance an
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Page 77 and 78: are thinking particularly of the ar
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Page 81 and 82: Second, integration can mean many t
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Page 85 and 86: distributed equally and equitably a
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Page 89 and 90: FIGURE 2SHEPSHEDCOMMUNITYCOLLEGEope
Page 91: in upper schools. Associated with t
Page 95 and 96: 78literature and put money and reso
Page 97 and 98: 80outlined the sorts of provision t
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Page 101 and 102: 135 Respon- If education involves t
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Page 105 and 106: MotivationalChildren on examination
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Page 111 and 112: 94more in-service training provisio
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Page 115 and 116: tuition under well qualified teache
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Page 119 and 120: 102by professional musicians, many
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Page 123 and 124: classroom teacher. Nevertheless, th
Page 125 and 126: 'Within individual schools in certa
Page 127 and 128: implications of different types of
Page 129 and 130: We will first outline five main are
Page 131 and 132: 186 Arts In the schemes we have jus
Page 133 and 134: schemes. The Arvon Foundation, for
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Page 139 and 140: 207 The role The rple of the teache
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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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