The Arts in Schools - Calouste Gulbenkian Foundation

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the timetable. The school has a common curriculum sothat every child will spend over one sixth of the week onmusic, drama and art. Even in the last week I have beenconsidering how to give more emphasis to these studies,especially for 6th Formers. They will all spend time ondrama and in art and they will be encouraged to do music.From our capitation, English will have £1,500 this yearand the Arts Faculty £2,300. We are about to re-fashionour Hall as a working theatre using our own labour andhave asked a local charity for £1,250 for materials. Suchis my confidence, after 19 years, in the value of this work.'125 Equality The arts have a claim on an equitable and major part ofofcurriculum time. This holds no less for capitation monies,provision the provision of rooms, materials and equipment and theappointment of staff. Just as scientists need laboratories,so do arts teachers need studios. Of course, just as physicists,chemists and biologists may have to share their facilities,so must arts teachers, on a dual-use basis, be prepared to'double-up' where necessary. Just as teachers of science,mathematics or modern languages need money for technicalequipment, slides, tapes and specimens, so too do arts teachersneed materials such as paper, canvas, clay, sheet music,tapes and slides and equipment such as kilns, easels andmusical instruments. Like all teachers they must also beprepared to co-ordinate their need for materials and equipment.Just as those who value the sciences in schools will wantto see as many representatives of them in school staffroomsas possible — physicists, chemists, biologists, geologists — sotoo will those who value the arts want to see artists, musicians,teachers of dance, drama, poetry and literature. Arts teachersare not asking for the moon. They are as aware as anyone elseof the need to work within financial limits and restrictions ofspace and time. But they can see no reason, and neither canwe, for their being fobbed off with next to nothing. Even intimes of restraint and cutback we can see no reason why theyshould shoulder a disproportionate share of restricted opportunitiesfor doing the work at all. In Joan Freeman's words,'Neither time nor money are adequate excuses for deprivingchildren of the richer aspects of education . . . The losersfrom this state of affairs are growing up now.' (Freeman,1979)126 Summary In this chapter we have looked at some of the constraintson the development of the arts in schools. We have stressedthe need for a policy for the arts in each school and have79
80outlined the sorts of provision this suggests. We have outlineda number of possible strategies for responding to theeffects of falling rolls on arts provision. We have concludedby emphasising the need for teachers to be better trainedin dealing with curriculum issues and the need to affectexisting attitudes at administrative level.
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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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arts — is 'merely subjective" and
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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
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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
Page 75 and 76: techniques and resources for workin
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
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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 and 92: in upper schools. Associated with t
Page 93 and 94: 120 A Implicit in such proposals is
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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
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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
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
Page 135 and 136: is likely to give his teaching rele
Page 137 and 138: periods of time. There are possibil
Page 139 and 140: 207 The role The rple of the teache
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Page 143 and 144: scheme. The Charlotte Mason College
Page 145 and 146: 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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