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The Arts in Schools - Calouste Gulbenkian Foundation

The Arts in Schools - Calouste Gulbenkian Foundation

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78literature and put money and resources <strong>in</strong>to art andmusic. All of these changes cumulatively transformedthe school with<strong>in</strong> three years. <strong>The</strong>re is it seems to me adirect l<strong>in</strong>k between the attitudes of students and theplace that the arts occupy <strong>in</strong> the life of the school.All the arts subjects are governed by discipl<strong>in</strong>e andthis is the feature which is most often forgotten. Butthe ballet dancer, the musician <strong>in</strong> an orchestra, the writerstruggl<strong>in</strong>g for the exact phrase will know the mean<strong>in</strong>g ofdiscipl<strong>in</strong>e. In most of the areas the discipl<strong>in</strong>e embracesthe m<strong>in</strong>d and the emotions and the body. This is not thediscipl<strong>in</strong>e that relies on a display of strength but whichdepends upon the skill of creat<strong>in</strong>g someth<strong>in</strong>g. Successfulteachers <strong>in</strong> literature or music or drama all offered anddemanded quality with no concessions. Demands weremade: there was pride <strong>in</strong> standards, skill and atta<strong>in</strong>ment.As <strong>in</strong> all education, expectations rule. As a headmaster Ihave found that the important th<strong>in</strong>g is to give my teachersof drama, art and music, the rooms and the timetablethey need. Drama done <strong>in</strong> odd periods must be <strong>in</strong>conclusive.By the time the teacher has obta<strong>in</strong>ed the atmospherehe wants, the bell goes and the work is broken off.At my second school, money and resources <strong>in</strong>clud<strong>in</strong>gteach<strong>in</strong>g strength were also put <strong>in</strong>to the arts. This wasbecause the creative experience <strong>in</strong> these areas developedconfidence and satisfaction for the students. It was becausethey developed powers of expression and communication,sensitivity and responsiveness.I have no doubts, hav<strong>in</strong>g applied this pr<strong>in</strong>ciple to threeschools, that good arts teach<strong>in</strong>g br<strong>in</strong>gs <strong>in</strong> a tone of greatersympathy and understand<strong>in</strong>g. Pupils are more responsive.It is possible to move them with words. <strong>The</strong>re is not <strong>in</strong>them that hardness which breeds hardness. When I firstcame to my present school, I was staggered by the aggressivenessand roughness of the students. Now, five years later,that is gone. I attribute much of that to the effects of artsteach<strong>in</strong>g. Where students are more sensitive to atmosphereand speech, the teachers <strong>in</strong> all subjects have an easiertime. Among the greatest virtues the arts offer is the rise<strong>in</strong> self-esteem that comes from creation. As a studentstruggles to express him/herself or communicate throughthe arts, that sense of identity elim<strong>in</strong>ates the desire to benoticed <strong>in</strong> less attractive ways.I have always been proud of the record my schoolshave had for lack of aggression and vandalism. So <strong>in</strong> my20th year of Headship I am runn<strong>in</strong>g a large ComprehensiveSchool <strong>in</strong> which the <strong>Arts</strong> Faculty — responsible for music,drama, and art — has 12 teachers and over one sixth of

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