The Arts in Schools - Calouste Gulbenkian Foundation

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ContentsThe Advisory CommitteeTerms of ReferenceForeword by the Chairman of the InquiryIntroductionThe Issues1 Reasons for the report 2 Education and employment 3 Culturalchange 4 The need for action 5 Attitudes to the arts 6 All ofthe arts 7 The arts and education 8 The curriculum debate9 Structure of the report 10 The arts are not options 11 Notwithout precedentChapter 1 Education, schooling and the arts12 Reasons for the chapter 13 The different forms of human rationality14 The need for balance 15 The arts and aesthetic development16 The arts and moral education 17 The arts and culturaldevelopment 18 Participating in and appreciating the arts 19 'Highart' and contemporary culture 20 Ways of having ideas 21 Thecreative mind 22 The arts and the open society 23 Unity andintegration 24 The objectivity of art 25 Two modes of consciousness26 The importance of balance 27 Other outcomes of thearts 28 The arts and recreation 29 The humanity of the arts30 Ends and means 31 SummaryChapter 2 The arts, creativity and the whole curriculum32 Reasons for the chapter 33 A type of intelligence 34 Featuresof creative work 35 Creative and divergent thinkers 36 Recognisingand assessing creativity 37 Two misconceptions 38 Quality notquantity 39 The context of creative work 40 A different view ofcreativity 41 Implications for teaching 42 The role of the teacher43 Freedom and authority 44 SummaryChapter 3 Arts education and the cultural heritage45 Reasons for the chapter 46 Two separate issues 47 The artsand 'culture' 48 Diversity 49 Relativity 50 Change 51 Implications52 Whose culture? 53 Which heritage? 54 The selectivetradition 55 The arts and cultural education 56 Participation57 Appreciation 58 Some practical examples 59 The school as acultural exchange 60 Raising standards 61 Applied studies 62 Butis it art? 63 Summaryiii
Chapter 4 Provision: the arts in primary schools64 Reasons for the chapter 65 In general 66 From primary tosecondary 67 The arts in primary schools 68 What should beaimed at? 69 Visual arts 70 Music 71 Other arts 72 Whatprovision is needed? 73 Integration 74 Resources 75 Availability:a resource bank 76 Accessibility: the ethos of the school77 Expressive media 78 Variety 79 Quality 80 Adequacy81 Resourcefulness 82 What are the problems? 83 A vicious circle84 Initial training 85 What are the possible solutions? 86 An artselement in training 87 The need for specialists 88 The AdvisoryService 89 Staff consultants 90 SummaryChapter 5 Provision: the arts in secondary schools91 Reasons for the chapter 92 In general 93 The need for action94 Constraints on the arts 95 Liaison 96 The world of the specialist97 Timetabling: fragmentation 98 Integration 99 Space andfacilities 100 Attitudes 101 Examinations 102 The need for apolicy 103 The need for specifics 104 Co-ordination 105 Continuity106 An arts policy 107 The secondary curriculum108 The arts in the curriculum 109 The arts on the timetable110 Other possibilities: block timetabling 111 Creative arts departments112 Space and facilities 113 A different approach 114 Thesize of the school 115 Falling rolls 116 Short intensive courses117 Holiday courses 118 'Third sessions' 119 Specialist centres120 A change of perspective 121 The Advisory Service 122 Curriculumtraining 123 Senior staff 124 Speaking from experience125 Equality of provision 126 SummaryChapter 6 Assessment, evaluation and accountability127 Reasons for the chapter 128 The need for accountability129 Two false arguments 130 Assessment 131 Evaluation132 Examination 133 What kind of assessment and accountability?134 Dluminative evaluation 135 Responsive evaluation 136 Pervasiveassessment 137 Informative assessment 138 Implicationsfor accountability 139 Examinations in the arts 140 Passing orfailing 141 The element of failure 142 Arguments for examiningthe arts 143 Three counter-arguments 144 The need for alternatives145 Profile reporting 146 RPA and RPE 147 The need for research148 A limited case for arts examination 149 Graded tests150 Some difficulties 151 Looking ahead 152 From primary tosecondary 153 The need for in-service training 154 The need forpartnership 155 SummaryChapter 7 Special needsiv156 Reasons for the chapter 157 A comprehensive approach
Page 1 and 2: THEARTSSCHOOLSPrinciples, practice
Page 3: © 1982 Calouste Gulbenkian Foundat
Page 7 and 8: The Advisory CommitteeChairmanMembe
Page 9 and 10: Foreword by the Chairman of the Inq
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
Page 59 and 60:
Child: "They said it was a march, b
Page 61 and 62:
their cultural identity'. Haley's b
Page 63 and 64:
life and on perceptions and values
Page 65 and 66:
4 Provision: the arts in primary sc
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a What should be aimed at?b What pr
Page 69 and 70:
composition — Western and non-Wes
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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
Page 83 and 84:
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
Page 123 and 124:
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
Page 167 and 168:
to work with them. CSE groups with
Page 169 and 170:
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
Page 177 and 178:
Kerr, J F 1968 Changing the Curricu
Page 179 and 180:
NotesThe Issues1 For a description
Page 181 and 182:
the philosophy of Ludwig Wittgenste
Page 183 and 184:
for candidates between the 100th an
Page 185 and 186:
their education full-time in school
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The Arts in Schools - Calouste Gulbenkian Foundation

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