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All Our Futures: Creativity, Culture & Education.Department for Culture, Media, and Sport, London (England).;Department for Education and Employment, London (England).ISBN-1-84185-034-91999-00-00220p.; Prepared by the National Advisory Committee onCreative and Cultural Education.DFEE Publication, P.O. Box 5050, Sudbury, Suffolk C010 6ZQ,England. Tel: 0845-6022260; e-mail: [email protected] (010) Reports - Descriptive (141)MF01/PC09 Plus Postage.*Creative Teaching; *Cultural Education; CurriculumEvaluation; Education Work Relationship; ElementarySecondary Education; Family School Relationship; ForeignCountries; Government School Relationship; NationalStandardsEngland

This report argues that a English national strategy forcreative and cultural education is essential. Three principle objectives arelaid out to address this strategy. First, there are important relationshipsbetween creative and cultural education for the whole curriculum. Second,teachers must be trained in the most current methods to stimulate student'slearning. Finally, the balance of the school curriculum to createpartnerships between schools and the world is essential for today's creativeand cultural education. The report develops the themes of the challenge foreducation, creative potential, freedom and control, cultural understanding,and a systematic approach. The four chapters include: (1) "Facing the Future"sets out definitions and a framework for creative and cultural education; (2)

"A New Balance" explains implications for the English school curriculum, forteaching, and for assessment; (3) "Beyond the School" argues for a broad baseof partnerships between schools and other agencies and considers issues ofresources and training; and (4) "A National Strategy" presents a series ofdetailed recommendations as a framework for a national strategy. The keymessage of this report is the need for a new balance: in education; insetting national priorities; in the structure and organization of the schoolcurriculum; in methods of teaching and assessment; and in relationshipsbetween English schools and other agencies. (LB)

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Department forNational Advisory Committee on Creative and Cultural Education Education and Employment

National Advisory Committee on Creative and Cultural Education

H ur mums:Creativity, Cu Rue & Edu.ca.tio

Report tothe Secretary of State for Education and Employmentthe Secretary of State for Culture, Media and Sport

Foreword

Foreword by the Rt. Hon David Blunkett MP, Secretary of Statefor Education and Employment

Creative and cultural education can help raise educational standards by boosting achild's self-confidence and self-esteem. The Government wants to give youngpeople every chance to develop their full potential, to build on their strengths andto believe in themselves. Our cultural heritage, together with creativity throughself-expression, offers a way of developing the talent of the individual and theirunderstanding of a diverse and complex world around them. I welcome therecommendations of this report which identify a variety of ways in which we canenable young people to explore their creativity at school and more widely for theirfuture leisure and work opportunities. I am grateful for the committee's effortsand the imaginative proposals they have contributed to this vital part of a balancedand rounded education. I look forward to the results of further constructive debateon the challenge we face in the social and economic climate of a new century.

exideudeliDAVID BLUNKETT

Foreword by the Rt. Hon Chris Smith MP, Secretary of Statefor Culture, Media and Sport

The opportunities to explore the best of contemporary culture and to expressindividual creativity are two vital components of any education system committedto developing the full potential of all its pupils. They also play an essential role innurturing a lively society and a dynamic economy. I welcome the vigorous way inwhich this report addresses these issues and, in particular, the emphasis it placeson developing effective partnerships between schools and the wider community.My Department will be looking at ways of building on its recommendations.

CHRIS SMITH

4

Contents

Terms of ReferenceMembership of the CommitteeIntroduction and Summary

4

- 5

6

Part One: Facing the Future

1 The Challenge for Education 18

2 Creative Education 27

3 Cultural Education 40

4 Meeting the Challenge 54

Part Two: A New Balance

5 Developing the Curriculum 64

6 Teaching and Learning 88

7 Raising Standards 107

Part Three: Beyond the School

8 Developing Partnerships 120

9 Funding and Resources 140

10 Training People 153

Part Four: A National Strategy

Looking Ahead 168

Detailed Recommendations 169

AppendicesA. Patterns of Provision 180

B. Abbreviations, Notes and References 197

C. Acknowledgements 206

D. Research and Consultations 208

5

Terms of Reference

The National Advisory Committee on Creative and Cultural Education wasestablished in February 1998 by the Secretary of State for Education andEmployment, the Rt. Hon David Blunkett MP and the Secretary of Statefor Culture, Media and Sport, the Rt. Hon Chris Smith MP. Our terms ofreference were:

To make recommendations to the Secretaries of State on the creative andcultural development of young people through formal and informaleducation: to take stock of current provision and to make proposals forprinciples, policies and practice.

This report makes recommendations for provision in formal and informaleducation for young people to the age of 16: that is, to the end ofcompulsory education. Our inquiry coincides with the Government's reviewof the National Curriculum. This report includes specific recommendationson the National Curriculum. It also includes recommendations for a widernational strategy for creative and cultural education.

4 Terms of Reference NACCCE Report

Membership of the Committee

Professor Ken Robinson (Chairman), University of WarwickProfessor Lewis Minkin (Vice-chair), Sheffield Hallam UniversityProfessor Eric Bolton CB, Formerly Senior Chief InspectorDawn French, Actor/ComedianLindsey Fryer, Vice-chair, Engage The National Association of Gallery EducationProfessor Susan Greenfield, University of Oxford; Director, Royal InstitutionValerie Hannon, Chief Education Officer, DerbyshireLenny Henry CBE, Actor/ComedianDawn Holgate, Director of Education, Phoenix Dance CompanyDame Tamsyn Imison, Head, Hampstead School, LondonClive Jones, Chief Executive, Carlton TelevisionJudith Kelly OBE, Artistic Director, West Yorkshire PlayhouseProfessor Sir Harold Kroto Kt., FRS, University of SussexSir Claus Moser KCB, CBE, FBA, Chairman, Basic Skills AgencySir Simon Rattle Kt., CBE, ConductorLord Stone of Blackheath, Managing Director, Marks & Spencer plcProfessor Helen Storey, Fashion DesignerCarol Traynor, Head, St Boniface RC Primary School, Salford

Research OfficerMathilda Joubert

Administrative OfficerLynn Green

ObserversDepartment for Education and EmploymentJohn Connolly (from August 1998)Julian CritchleyJanet DawsonTeresa Downing (to August 1998)

Department for Culture Media and SportTony Dyer (from December 1998)Patrick Fallon (to November 1998)David Fawcett (to November 1998)Allan Ferries (from December 1998)

Office for Standards in EducationPeter Jones HMI

Qualifications and Curriculum AuthorityTony Knight

Teacher Training AgencyAngela Walsh

7Membership of the Committee NACCCE Report 5

aQ

Our aim must be to

create a nation wherethe creative talents ofall the people are usedto build a trueenterprise economy forthe twenty-firstcentury where wecompete on brains, notbrawn.

DU

The Prime Minister,the Rt. Hon Tony BlairMP

aQ

...we cannot rely on asmall elite, no matterhow highly educated orhighly paid. Instead weneed the creativity,enterprise andscholarship of all ourpeople.

UU

Rt. Hon DavidBlunkett MRSecretary of State forEducation andEmployment

aQ

We must change theconcept of creativityfrom being somethingthat is 'added on' toeducation, skills,training andmanagement andmake sure it becomesintrinsic to all ofthese.

DU

Rt. Hon Chris SmithMP, Secretary of Statefor Culture, Mediaand Sport

1:1

Introduction and Summary

The Purpose of this Report

In 1997, the Government published its White Paper, Excellence inSchools. It described education as a vital investment in 'human capital' forthe twenty-first century. It argued that one of the problems in education isthe low expectations of young people's abilities and that it is essential toraise morale, motivation and self esteem in schools. The main focus of theWhite Paper was on raising standards in literacy and numeracy. But thiswill not be enough to meet the challenges that face education, and theWhite Paper recognised this. It also said:

If we are to prepare successfully for the twenty-first century we willhave to do more than just improve literacy and numeracy skills. Weneed a broad, flexible and motivating education that recognises thedifferent talents of all children and delivers excellence for everyone.

It emphasised the urgent need to unlock the potential of every youngperson and argued that Britain's economic prosperity and social cohesiondepend on this.

This report argues that a national strategy for creative and culturaleducation is essential to that process. We put the case for developingcreative and cultural education; we consider what is involved; we look atcurrent provision and assess the opportunities and obstacles; and we setout a national strategy. By creative education we mean forms of educationthat develop young people's capacities for original ideas and action: bycultural education we mean forms of education that enable them toengage positively with the growing complexity and diversity of socialvalues and ways of life. We argue that there are important relationshipsbetween creative and cultural education, and significant implications formethods of teaching and assessment, the balance of the schoolcurriculum and for partnerships between schools and the wider world.

What is this Report About?

Our report develops five main themes:

The Challenge for EducationEducation faces challenges that are without precedent. Meeting thesechallenges calls for new priorities in education, including a much strongeremphasis on creative and cultural education and a new balance in teachingand in the curriculum.

Creative PotentialCreativity is possible in all areas of human activity,tincluding the arts,sciences, at work at play and in all other areas of daily life. All people havecreative abilities and we all have them differently. When individuals find

6 Introduction and Summary NACCCE Repc8

their creative strengths, it can have an enormous impact on self-esteemand on overall achievement.

Freedom and ControlCreativity is not simply a matter of letting go. Serious creativeachievement relies on knowledge, control of materials and command ofideas. Creative education involves a balance between teaching knowledgeand skills, and encouraging innovation. In these ways, creativedevelopment is directly related to cultural education.

Cultural UnderstandingYoung people are living in times of rapid cultural change and of increasingcultural diversity. Education must enable them to understand and respectdifferent cultural values and traditions and the processes of culturalchange and development. The engine of cultural change is the humancapacity for creative thought and action.

A Systemic ApproachCreative and cultural education are not subjects in the curriculum, they aregeneral functions of education. Promoting them effectively calls for asystemic strategy: one that addresses the balance of the schoolcurriculum, teaching methods and assessment, how schools connect withother people and resources, and the training and development of teachersand others.

Who is this Report for?

Formally, our report is addressed to the Secretaries of State, and many ofour recommendations do call for Government action at various levels. Buteducation concerns everybody: children and young people, parents,employers, those in work, out of work or in retirement. Consequently, ourreport is also written for a wider audience:

O for parents, who want education to offer the best opportunities fortheir children,

O for teachers and headteachers who see the potential range andvitality of young people's abilities;

O for school governors, who want their schools to be alive with energyand achievement;

O for other organisations who see themselves as partners in theeducation of young people and who want to find better ways ofengaging with them;

O for business and union leaders who recognise the need for newapproaches to preparing young people for the changing nature ofwork.

.Above all, our aim is to urge the need for a national strategy whichengages the energies of all of these to provide the kind of education, insubstance and in style, that all young people need now, and to enablethem.to face an uncertain and demanding future.

Introduction and Summary NACCCE Report 7

Why Now?

There are great opportunities now to promote young people's creative andcultural education:

o The Government is committed to promoting the creative abilities andcultural understanding of all young people through education. At thesame time, it is introducing new patterns of funding to supportextended curricula, specialist facilities and innovation.

O The business community wants education to give a much higherpriority to promoting young people's creative abilities; to developingteamwork, social skills and powers of communication.

o Many professional and other organisations are keen to developinnovative partnerships with education, through visits, residenciesand liaison schemes.

New technologies are providing unprecedented access to ideas,information, people and organisations throughout the world, as wellas to new modes of creativity, personal expression, culturalexchange and understanding.

The opportunities are considerable: and so are the difficulties.

Issues of creativity and of cultural development concern the whole ofeducation. They are influenced by much more than the shape and contentof the formal school curriculum. These influences include methods ofteaching; the ethos of schools, including the relationships betweenteachers and learners; and the national priorities that underpin theeducation service. Our consultations suggest some tensions in currentprovision.

o Many of those who have contributed to our inquiry believe thatcurrent priorities and pressures in education inhibit the creativeabilities of young people and of those who teach them. There is aparticular concern about the place and status of the arts andhumanities. There is also concern that science education is losing itsvitality under current pressures.

Many schools are doing exciting and demanding work but often theysee themselves doing this in spite, not because, of the existingclimate. This may be more a problem of perception than of fact.There is no comprehensive evidence available either way to us norto the Government. Nevertheless, the fact of this perception, andhow widespread it is, is evidence of a problem in itself.

O Outside organisations museums, theatres, galleries, orchestras andothers have a great deal to offer the formal education sector. Many

08 Introduction and Summary NACCCE Report

already have education and outreach programmes. There is acompelling argument for closer working partnerships and we havefound considerable enthusiasm for them. Many say they are poorlyfunded for educational programmes and that such work still has lowpriority.

o There are deep concerns about the supply of teachers and theextent to which current training takes account of the importance ofcreative and cultural education.

The key message of this report is the need for a new balance in education:in setting national priorities; in the structure and organisation of the schoolcurriculum; in methods of teaching and assessment; in relationshipsbetween schools and other agencies. Over a number of years, the balanceof education has been lost. There has been a tendency for the nationaldebate on education to be expressed as a series of exclusive alternatives,even dichotomies: for example, as a choice between the arts or thesciences; the core curriculum or the broad curriculum; between academicstandards or creativity; freedom or authority in teaching methods. Weargue that these dichotomies are misleading and unhelpful. Realising thepotential of young people, and raising standards of achievement andmotivation includes all of these elements. Creating the right synergy andachieving the right balance in education is an urgent task, from nationalpolicy making to classroom teaching.

Structure of the Report

The report is in four parts. In Part One we set out our definitions andframework for creative and cultural education. In Part Two we look at theimplications for the school curriculum, for teaching and for assessment. InPart Three, we argue for a broad base of partnerships between schoolsand other agencies and consider issues of resources and training. In PartFour we present a series of detailed recommendations as a framework fora national strategy. The main arguments of the report are as follows:

Part One: Facing the Future

1 The Challenge for Education

Education throughout the world faces unprecedented challenges:economic, technological, social, and personal. Policy-makers everywhereemphasise the urgent need to develop 'human resources', and inparticular to promote creativity, adaptability and better powers ofcommunication. We argue that this means reviewing some of the basicassumptions of our education system. New approaches are needed basedon broader conceptions of young people's abilities, of how to promotetheir motivation and self-esteem, and of the skills and aptitudes theyneed. Creative and cultural education are fundamental to meeting theseobjectives.

1 1Introduction and Summary NACCCE Report 9

2 Creative Development

There are many misconceptions about creativity. Some people associatecreative teaching with a lack of discipline in education. Others see creativeability as the preserve of a gifted few, rather than of the many; othersassociate it only with the arts. In our view, creativity is possible in all areasof human activity and all young people and adults have creative capacities.Developing these capacities involves a balance between teaching skillsand understanding, and promoting the freedom to innovate, and take risks.

3 Cultural Development

Culture too is often associated with the arts. However, we relate the artsto a broader definition of social culture which includes the impact ofscience and technology on ways of life and the increasing interactionbetween cultures. Young people need to be helped to engage positivelywith cultural change and diversity. The dangers of cultural intolerancemake this task a particular priority. We argue that creative and culturaleducation are dynamically related and that there are practical implicationsfor the curriculum and for the classroom.

4 Meeting the Challenge

In this section we draw together our arguments for creative and culturaleducation and show how, in principle, they contribute to meeting thechallenges for education that we have identified. In Part Two we movefrom principles to practice.

Part Two: A New Balance

5 Developing the School Curriculum

There have been many benefits in the introduction of the NationalCurriculum. There are also difficulties for creative and cultural education inthe existing rationale, structure and levels of prescription. These issuesneed to be tackled to allow more initiative to schools within a clearframework of public accountability. All schools should review theirprovision for creative and cultural education within and beyond theNational Curriculum.

6 Teaching and Learning

Creativity can be 'taught'. Teachers can be creative in their own teaching;they can also promote the creative abilities of their pupils. The roles ofteachers are to recognise young people's creative capacities; and toprovide the particular conditions in which they can be realised. Developingcreativity involves, amongst other things, deepening young people'scultural knowledge and understanding. This is essential both in itself andto promote forms of education that are inclusive and sensitive to culturaldiversity and change.

10 Introduction and Summary

12NACCCE Report

7 Raising Standards

Assessment and inspection have vital roles in raising standards ofachievement in schools. But they must support and not inhibit creativeand cultural education. There is a need for a new balance betweendifferent types of attainment target in the National Curriculum, andbetween the different forms and criteria of assessment and inspection.Raising standards should not mean standardisation, or the objectives ofcreative and cultural education will be frustrated.

Parr Three: Beyond the School

8 Developing Partnerships

Schools are now able to work in partnership with a wide range ofindividuals and organisations to enrich provision for creative and culturaleducation. The benefits of successful partnerships, and the roles ofvarious partners in creative and cultural education, are different butcomplementary. There is a great deal of good practice, but there is anurgent need to establish better systems of funding, training and qualityassurance.

9 Funding and Resources

Local management of schools has reduced many services and facilitiesthat were once provided by local education authorities to support creativeand cultural education. Co-ordinated action is needed to provide theseservices in new and imaginative ways in the short and longer term. Thereare also many new sources of funding available to schools andorganisations through a wide range of schemes and initiatives. Newpatterns of partnership are needed between government departments andfunding agencies to make more effective use of resources.

10 Training People

The new provisions in initial teacher training present serious difficulties tothe future of creative and cultural education. Urgent action is needed toensure a continuing supply of appropriately trained teachers. We also seenew roles for continuing professional development and the need to reviewthe priorities for funding. New training strategies are needed forspecialists other than teachers. Action is needed to improve the quality oftraining for youth workers to promote the creative and culturaldevelopment of young people.

Part Four: A National Strategy

We welcome the Government's commitment to developing the creativecapacities and cultural understanding of young people. We recommendthat it should now co-ordinate a national strategy to promote higherstandards of provision and achievement. This strategy should include

Introduction and ummary NACCCE Report 11

CES

action by the Government itself and by the national agencies for theschool curriculum, inspection and teacher training. It should also includeaction by local education authorities and schools and by other national andregional organisations. Throughout this report we make a wide range ofspecific recommendations that provide a framework for this strategy. InPart Four, we draw these recommendations together, indicate how theyare related and the time scale over which some of them should beimplemented and by whom. All of these recommendations are addressedto three principal objectives.

a. To ensure that the importance of creative and cultural education isexplicitly recognised and provided for in schools' policies for the wholecurriculum, and in Government policy for the National Curriculum.

b. To ensure that teachers and other professionals are encouraged andtrained to use methods and materials that facilitate the developmentof young people's creative abilities and cultural understanding.

c. To promote the development of partnerships between schools andoutside agencies which are now essential to provide the kinds ofcreative and cultural education that young people need and deserve.

If these objectives were achieved, the benefits would be felt by all youngpeople, the education sector and by society as a whole.

How Important is This?

There is intense concern with raising standards in education, and schoolsand the education sector in general are already deluged with reports. Howimportant is this one? For some people, the very theme of this report mayseem a distraction from the main business of raising standards. We do notthink so. Our concerns are the same as everyone else's. How caneducation enable our children to make the most of themselves and takethe best advantage of the opportunities and uncertainties that they face ina fast changing world? Let us anticipate some of the legitimate questionsthat might be asked of this report.

1. Isn't an emphasis on creativity and culture a distraction from thecore concerns with literacy and numeracy?

We are not advocating creative and cultural education as alternatives toliteracy and numeracy, but as equally relevant to the needs of this and offuture generations. We support the need for high standards of literacy andnumeracy. These are important in themselves. They can also enhancecreative abilities: equally creative teaching and learning can enhanceliteracy and numeracy. These are complementary abilities, not opposingobjectives. The Government and the vast majority of people in educationrecognise this.

7, t1 2 Introduction and Summary NACCCE Report

14

2. How are creative and cultural education relevant to raisingacademic standards?

Ability comes in many forms and should not be defined only by traditionalacademic criteria. Academic ability alone will no longer guarantee successor personal achievement. Every child has capabilities beyond thetraditionally academic. Children with high academic ability may have otherstrengths that are often neglected. Children who struggle with academicwork can have outstanding abilities in other areas. Equally, creative andcultural education of the sort we propose can also help to raise academicstandards. The key is to find what children are good at. Self confidenceand self esteem then tend to rise and overall performance to improve.High standards in creative achievement require just as much rigour astraditional academic work.

3. What has this got to do with helping young people get jobs?

We live in a fast moving world. While employers continue to demand highacademic standards, they also now want more. They want people whocan adapt, see connections, innovate, communicate and work with others.This is true in many areas of work. The new knowledge-based economiesin particular will increasingly depend on these abilities. Many businessesare paying for courses to promote creative abilities, to teach the skills andattitudes that are now essential for economic success but which oureducation system is not designed to promote.

4. Is this committee a lobby group for the arts?

This report does not represent a particular lobby. It expresses concernsacross a wide range of public and professional interests about the balanceand priorities of education as we move into the twenty-first century. Ourmembers come from different professions and backgrounds: includingscience, the arts, education and business. Creative achievement isobvious in the arts but it is essential to achievement in all other fieldsincluding the sciences and business.

5. Is this a return to the progressive teaching ideas of the 1960s?

No. We are advocating a new balance between learning knowledge andskills and having the freedom to innovate and experiment a system ofeducation that fosters and channels the diverse abilities of young peopleand which gives everyone the opportunity to achieve on their own merits.This is why we link creative education with cultural education.

6. Teachers are already under enormous pressures. Are theserecommendations going to add to the burden?

Good teachers and many high performing schools are already doing whatwe are recommending. We want to emphasise the importance of theirwork and to establish national priorities for creative and cultural education

15Introduction and Summary NACCCE Report 13

tt

in all schools. The curriculum is already over-full and we think it should bethinned out. We want teachers to have more freedom to use their owncreative and professional skills. Greater freedom for teachers in theclassroom will help to promote creative teaching and this is essential topromote creative learning.

Looking Forward

The issues we are dealing with in this report are essential to the overallquality and standards of education. They are also difficult in terms ofdefinition, policy and practice. We have found our own debates as a groupexciting and enlightening. We have had an opportunity which is all too rareto meet across specialisms and to talk from a wide range of differentbackgrounds. We continually found that ideas and values that we thoughtparticular to our own fields are common to us all. Too often, our owneducation had taught us otherwise. In what follows, we have tried to sayas directly and clearly as we can what we are concerned with and whatwe are concerned about. We have tried to balance a discussion ofdefinitions and principles with recommendations that are practical andfeasible. We have not dealt in detail with all of the issues we raise: wehave not done justice to every subtlety of argument on the way. Our taskhas been to balance depth with breadth, theory with practice and detailwith brevity. In publishing this report we believe with even more strengththan we did at the outset, that the tasks we identify are urgent and thearguments compelling; that the benefits of success are enormous and thecosts of inaction profound.

In his introduction to Excellence in Schools (DfEE 1997), the Secretary ofState for Education and Employment relates the Government's aims foreducation to five priorities:

o the need to overcome economic and social disadvantages;o the creation of greater fairness within the education system;o the encouragement of aspiration;o economic competitiveness;O unlocking the potential of each individual.

We believe that these are the right priorities for education; and that theyare all related. Our aims are to show how these priorities can be realisedthrough a systematic approach to creative and cultural education; topromote higher standards in creative and cultural education in alldisciplines; to promote parity of provision between the arts, humanities,sciences and other major areas of education; and to stimulate a broadbase of partnerships between schools and outside agencies. We see all ofthese as essential to realising the potential of young people; and topromoting the quality of national life and of individual achievement that arethe ultimate purposes of education.

16

14 Introduction and Summary NACCCE Report

The foundations of the present education system were laid at the end ofthe nineteenth century. They were designed to meet the needs of a worldthat was being transformed by industrialisation. We are publishing thisreport at the dawn of a new century. The challenges we face now are ofthe same magnitude, but they are of a different character. The task is notto do better now what we set out to do then: it is to rethink the purposes,methods and scale of education in our new circumstances. This reportargues that no education system can be world-class without valuing andintegrating creativity in teaching and learning, in the curriculum, inmanagement and leadership and without linking this to promotingknowledge and understanding of cultural change and diversity. Thearguments and proposals that follow are to help set a course for the nextcentury while addressing the urgent demands of the present.

Professor Ken Robinson; Chairman

1 7

Introduction and Summary NACCCE Report 15

Part One:

Fzen Me Am

18

asA successful creativeeconomy is one of theGovernment's priorities,and a key source of jobsof the future. The onlyway that we willcompete in these newsectors is through thetalents of our people.

DD

The Prime Minister,the Rt. Hon Tony BlairMP

BB

Our top priorities mustcontinue to be literacyand numeracy. Withoutthese basic skills, no

child can gain maxi-mum benefit from therest of the curriculum.However, in the work-force of the future, I

have always recog-nised that creativity,adaptability, and com-munication skills willalso be vital. We mustenable young people todevelop their creativepotential and to meetthe fundamental chal-lenges that face ourcountry.

DU

Rt. Hon DavidBlunkett MP,Secretary of State forEducation andEmployment


Educating for the Future

Countries throughout the world are re-organising their education systems.Like us, they are engulfed in rapid economic and social change.Everywhere, education is seen as the main way of enabling individualsand nations alike to meet these changes. Schools have a complex task.We expect education to prepare young people for the world of work andfor economic independence; to enable them to live constructively inresponsible communities; and to enable them to live in a tolerant,culturally diverse and rapidly changing society. Perhaps above all, weexpect education to help young people to build lives that have meaningand purpose in a future we can scarcely predict. The burning question, foreveryone involved, and increasingly that is everyone, is how is this to bedone? What kind of education is needed? In our view the answers involvemuch more than increasing the amount of education that goes on: andmore than doing better what we have always done. They involvereviewing some of the basic assumptions on which education so far hasbeen based. We need new approaches, because the challenges we allface are unprecedented. What are these challenges?

The Economic Challenge

To develop in young people the skills, knowledge and personal qualitiesthey need for a world where work is undergoing rapid and long-termchange.

One of the most basic expectations of general education is that it willenable young people to get a job when they leave school. The modernsystem of education in England was introduced by the 1944 EducationAct. The Act was planned, in part, to provide a workforce for the post-warindustrial economy. It was estimated that this would consist of roughly 80per cent manual workers and 20 per cent clerical and professional staff.More than fifty years on, the economic context has changed completely:in some fields of employment this ratio is being reversed. This is becauseof the radical transformations world-wide in both the nature and thepatterns of work.

1918 The Challenge for Eclucatton NACCCE Report

The Nature of Work

For a number of years, the balance has been changing between traditionalforms of industrial and manual work and jobs that are based oninformation technology and providing services of various kinds. As a result,the growing demand in businesses world-wide is for forms of educationand training that develop 'human resources' and in particular the powersof communication, innovation and creativity. This is because of theincessant need for businesses to develop new products and services andto adapt management styles and systems of operation to keep pace withrapidly changing market conditions. Creative abilities are needed in allforms of business and in all types of work including traditionalmanufacturing and trades. They are also at the centre of some of themost dynamic and rapidly expanding areas of the world economies.

New Work for Old

Whereas the dominant global companies used to be concerned withindustry and manufacturing, the key corporations today are increasingly inthe fields of communications, information, entertainment, science andtechnology. In the United States, the 'intellectual property' sectors, thosewhose value depends on their ability to generate new ideas rather than tomanufacture commodities, are now the most powerful element in the USeconomy. The Intellectual Property Association in Washington hasestimated these sectors to be worth $360 billion a year, making themmore valuable than automobiles, agriculture or aerospace. They aregrowing at twice the rate of the economy as a whole and generating jobsat three times the underlying rate. The intellectual property sector is moresignificant when patents from science and technology are included: inpharmaceuticals, electronics, biotechnology, and information systemsamong others. These are all based on fundamental advances in thesciences and in engineering and are creative fields of huge significance.

A subset of the intellectual property sector are what have been called the'creative industries'. These include: advertising, architecture, arts andantiques, crafts, design, designer fashion, film, leisure software, music,performing arts, publishing, software and computer services, televisionand radio. The Department of Culture, Media and Sport has recentlyestimated that these now generate annual revenues for the UK of over£57 billion and employ more than 1.7 million people (DCMS 1998). Unlikemany other industry sectors, the creative industries continue to benefitfrom high growth rates, in part because they build on, and interact with,innovations in science and technology. The communications revolution,increasing bandwidth and the advent of digital networks are creating newglobal markets, multiplying outlets and increasing consumer demand. InBritain, employment in the creative industries has grown by 34 per cent ina decade against a background of almost no growth in employment in theeconomy, as a whole. These are fields of significant opportunity for thecreative abilities of young people.

The Challenge for tion NACCCE Report

aQ

The arts, business andsociety all interact, all

derive support and

enlightenment and lifefrom each other.Creativity in its widestsense is at the heart ofmuch of what we inthis country are goodat. It is the foundationof a new generation of

I high-tech, high-skillsindustries. Ideas arethe building blocks ofinnovation and innova-tion builds industries.

DU

Chris Smith MP,Secretary of State forCulture, Media andSport

aQ

The business world isin a turbulent processof change from the oldworld of steady-statemass production to oneof constant innovationand the pursuit of cre-ativity in all forms andon a global scale.

DU

John Wybrew,Executive Director,Corporate Affairs,British Gas plc

19

aQEvery single person inbusiness needs the abil-ity to change, the selfconfidence to learn newthings and the capacityfor overview. The ideathat we can win withbrilliant scientists andtechnologists alone is

nonsense. It's breadth

of vision, the ability tounderstand all the influ-ences at work, to flexbetween them and notto be frightened of total-ly different experiencesand viewpoints thatholds the key. The spe-cialist that cannot take aholistic view in businessis no use at all.

DU

Sir John Harvey-Jones

20

The Patterns of Work

The Need to Adapt

Most young people starting out can expect to change not just jobs butoccupations, several times in their working lives. There is a growingemphasis on freelance work, short contracts, self-employment andentrepreneurial ability. Trans-national companies now use workers fromanywhere in the world on the basis of available skills: including facilitieswith information technologies and languages. These economic shifts areoperating independently of national boundaries. Young people need tohave high level 'skills for this complex new world of global markets andcompetition. They also need to be able to adapt to change and to newopportunities. Raising standards of literacy and numeracy is essential: butit is not enough. Nor is raising standards of academic qualifications. All ofthese are important, but the assumptions about human resources thateducation made in 1944 will not meet the challenges of 2004. Employersare now looking for much more than academic ability.

Academic Inflation

In a world where many traditional forms of work are ever changing, goodacademic qualifications alone will no longer guarantee work. This is partlybecause of the transience of many contemporary forms of work. It is alsobecause there are many more people with academic qualifications. As thenature of work changes, education itself is becoming one of the world'sbiggest industries. In Europe and America, the communications,entertainment and education sectors are growing faster than any otherarea of the economy and are now outstripping many conventional areas ofemployment'. It has been estimated that education and training nowaccount for six per cent of world gross domestic product (GDP). TheUnited Nations predicts that in the next thirty years more people will belooking for qualifications in education than since the beginning ofcivilisation (Puttnam 1998). This has profound implications for the sorts ofeducation people need, and for the value of the qualifications they receive.One emergent issue is academic inflation.

Qualifications are a form of currency. Their value is related to theprevailing exchange rate for employment or higher education. Like allcurrencies, they can inflate when there are too many in relation to theopportunities available. Two or three A-levels once secured a universityplace: the baseline for many courses is now much higher. A first degreeonce guaranteed a job: the baseline can now be masters degree or even aPhD. This is a structural problem for all education systems, and it maycompound as the number of people in formal education continues toincrease. Whatever other issues it raises, one consequence is alreadyclear. Academic qualifications alone are no longer enough. Increasingly,employers and others emphasise the need for the qualities and aptitudeswhich academic qualifications are not designed to produce powers ofcreativity, of communication, of empathy and adaptability, and social skills.

21The Challenge for Education NACCCE Report

9®

The Technological Challenge

To enable young people to make their way with confidence in a world thatis being shaped by technologies which are evolving more quickly than atany time in history.

The real long-term effects of the revolution in information technology havestill to be felt. The rate of technological change is quickening every day.Information technologies are transforming how we think, how wecommunicate, how we work and how we play. The new frontiers createdby nano-technology and extreme miniaturisation promise a wholly new eraof information systems. In the near future, there will be a convergence ofinformation and communication technologies as personal computers andtelevision systems combine. The next generation of computers may besmall enough to wear on the body and be powered by the surfaceelectricity of the skin. The rapid growth of understanding of the brain, inparticular, and of genetic systems in general, is matched by the speed ofdevelopment of information systems. In the foreseeable future, thesedifferent fields of innovation may converge to produce 'intelligent'computers which can interact with human consciousness.

New technologies in all their variety are having profound consequences inall areas of our lives. Young people are often more alert to the possibilitiesof new technologies than their teachers. Schools have been seentraditionally as points of entry to a wider world of information andknowledge. Young people now have direct access to more informationthan previous generations could guess at, and are often more expert thanadults in finding their way to it. Schools will need to think through theimplications of this for their own future roles. New technologies offerunprecedented opportunities for young people to broaden their horizons;to find new modes of creativity and to deepen their understanding of theworld around them. Schools also have resources available through thesetechnologies to transform methods of teaching and learning. There arebenefits and there are risks.

In future, new technologies may create divisions between those who canuse them and those who cannot. This argues for systematic andcomprehensive programmes of IT education in schools. On the otherhand, there are concerns that the use of these technologies in schools

The Challenge for Education NACCCE Report

asWe need an education

system that gives ourchildren an edge, theability the IndustrialSociety has identifiedto survive and prosper.We need to equip ouryoung people withpowers of innovationand creativity they needfor the rapidly-changingeconomies of thefuture. The educationsystem has to developa new emphasis on cre-ativity and discovery togive pupils the toolsthey will need to copewith the fast and con-tinuing changes in thenature of work, employ-ment and growth in theworld economy that lieahead.

DU

Clive Jones

JDLike it or not, we are liv-ing in a time ofimmense technologicalchange; the world ofeducation is beingasked to grapple withchallenges and oppor-tunities which almostboggle'the imagination.

DU

Lord Puttnam ofQueensgate

21

133

could become too pervasive. There are fears that long exposure toscreens, and the processes they involve, may have harmful effects. Onefear is that young people are not having enough direct contact with othersand that this may affect their social development. Second, there areemergent concerns about the possible effects on young people'semotional and imaginative development. These and other possible effectshave not been evaluated fully from an educational perspective. The bestthat can be said is that they are simply not understood. Whateverstrategies schools do develop, the need will remain to promote othermodes of learning and human contact so that the full capacities of youngpeople are developed through and alongside the use of new technologies.

The Social Challenge

To provide forms of education that enable young people to engage positivelyand confidently with far-reaching processes of social and cultural change.

The combined effects of economic and technological change aretransforming the social landscape. In some areas, the breakdown oftraditional patterns of work, particularly in heavy industry andmanufacturing, has had cataclysmic effects on social and community life.The effects have been more than economic. In areas worst affected bylong-term unemployment, there are mounting problems of socialexclusion. The Government's Social Exclusion Unit is involved in a widerange of measures to generate new work opportunities for communitiesand to promote the confidence and employability of those out of work. Insome areas, there has been a particular emphasis on regeneration throughthe creative and cultural industries a strategy which can have botheconomic and community benefits. Advances in science and technologyare affecting many other areas of social life. Developments in geneticsand fertility in particular are changing perceptions of gender roles andidentity. The prospects of longer lives and better healthcare have profounddemographic implications for the balance of relations and responsibilitiesbetween the generations. At the same time there is a breakdown intraditional family structures and in patterns of parenting and childcare.

Over the last three decades, the cultural profile of Britain has widenedenormously. There have been profound changes in the food we eat, in howwe speak and dress, and in how we see ourselves in relation to othercountries and cultural communities. Many British families have links acrossseveral continents. Many young people now live in a complex web ofinteracting cultures and sub-cultures: of families, gender, peer groups,ideological convictions, political communities and of ethnic and localtraditions. They also live in a global culture which is driven by the interplay ofcommercial interests, the creative energies of young people themselves,and the enveloping influence of information technologies. Information andcommunication technologies and the mass media films, television,newspapers and magazines form a torrent of ideas, images and lifestyleswhich compete for young people's attention and sense of identity.

2322 The Challenge for Editc:ifion NACCCE Report

114

11§

53

¶J1

There is a growing awareness of the need for education to respondpractically to the increasing diversity of British society, and to the growinginteraction between world cultures. The Macpherson report on theStephen Lawrence inquiry (Macpherson 1999) documents the catastrophicconsequences of the breakdown of intercultural relations. It points to theneed for schools and others to go beyond a general policy of multiculturaleducation: to combat extreme forms of cultural intolerance and racism.Racist attitudes, though always pernicious, are in the minority.Nonetheless, the education sector as a whole must now look at a range ofstrategies to address racism wherever and however it occurs.

The Personal Challenge

To develop the unique capacities of all young people, and to provide abasis on which they can each build lives that are purposeful and fulfilling.

All young people have different capacities, aptitudes and biographies. Theyhave different pasts and different futures. One of the roles of education is tohelp them find their future and understand their pasts. This begins by helpingthem to discover their own strengths, passions and sensibilities. Youngpeople spend their most formative and impressionable years at school. There

needs are not only academic. They are social, spiritual and emotional. All

young people need an education that helps them to find meaning and tomake sense of themselves and their lives. For some the need is acute. In arecent report the Mental Health Foundation (1999) found that growingnumbers of young people are experiencing emotional problems anddisturbances. The report argues that schools must find ways of enabling

young people to explore and express their own emotions and feelings inpositive and constructive ways. The conventional academic curriculum is notdesigned nor intended to do this. Yet the need for action is obvious.

The rising tide of drug use, of gang culture and street violence is harshevidence of the pressures and tensions that young people face. A growingnumber are less and less convinced of the value of education itself.Truancy and disaffection still affect the minority of school pupils: but it is asignificant problem. The problems of disaffection are particularly acuteamong young people who feel a conflict between their own cultural valuesand identities and those of the schools they attend or the areas wherethey live. A recent report from OFSTED (1999a) has confirmed theproblems of underachievement among children from ethnic minorityfamilies. There is an acknowledged and particular problem among African-Caribbean boys, growing numbers of whom are excluded from school.

The evidence is that the majority of young people have positive attitudestowards schools and are well behaved in class. There is also evidence ofless positive attitudes. For example, research based on the Kee le databaseof schools (Barber, 1994) showed that up to 70 per cent of secondaryschool pupils 'count the minutes to the end of lessons' and 30 40 percent thought that school was boring and would rather not go to school at

The Challenge for Ecgction NACCCE Report

aQ

Life is more than work.If we give children theidea that they needhigh-level skills only forwork, we have got it allwrong. They are goingto need even higher-level skills to perform ina democratic society.We have got to get thisabsolutely right: theissue is not technology,but what it means to behuman, what kind offuture we want for thehuman race.

John Abbott 1998

23

DD

all. Clearly there are many factors affecting pupil motivation and interest ineducation. But one of the most effective solutions is to develop activeforms of learning which engage the creative energies of young people. Asmall proportion of pupils can be classified as disaffected. One estimateputs it at about 10 per cent of Year 6 and 7 pupils (Keys et al 1995). Suchpupils may feel that school has nothing to offer them and is a waste oftime. Disaffection is often internalised and may be manifested inunhappiness, lack of motivation, truancy and disruptive behaviour. Poorbehaviour can lead to exclusion.

Although permanent exclusion is relatively uncommon, it has beenincreasing over the past few years and there is an increase in exclusionsfrom primary schools. Official figures (DfEE 1998b) show that in 1996-97,12,700 pupils were permanently excluded from mainland schools inEngland. This was a rise of 15 per cent in the three years from 1994-95.Exclusion is costly in terms of arranging alternative provision for pupils aswell as the 'hidden' costs of social service, health, police and criminaljustice service involvement. It has been estimated that the total cost ofexcluding pupils in 1996-7 amounted to £81 million (Parsons & Castle1998). There is a worryingly consistent picture of excluded pupils. Thoseexcluded are often (Sharp & Cato 1998):

O male;

o black African and Caribbean;

O from families of low socio-economic status;

O have special educational needs;

O have low levels of academic achievement.

Research evidence highlights the following individual factors associatedwith exclusion (Sharp & Cato 1998):

o Excluded pupils may have difficulties in establishing positiverelationships with teachers and other pupils. They may seek thecompany of other deviant peers.

Excluded pupils may experience particular difficulties with literacy.

Parents of excluded pupils are likely to have experienced difficultiesin controlling their child's behaviour.

Equally there is evidence that the experience of excluded pupils fromAfrican-Caribbean backgrounds differs from that of white pupils. OFSTED(1996) found that the exclusion of black pupils was less likely to beassociated with under-achievement or trauma than was true of whitepupils. Many research studies have suggested that structural changes tothe educational system may be contributing to the causes of exclusion,including increased competition between schools which has increased theemphasis on conventional academic attainment and fewer resources andless time to support disaffected pupils.

;Lc=

24 The Challenge for Education NACCCE Report

1D

Back To Basics

In all of these ways the tasks of education are complex and difficult. Theyinclude raising academic standards, but these alone will not answer thequestions that education now faces. A motif of educational debate overthe last ten years has been the need to get back to basics. Thetransformational changes we have outlined here are enough to raisequestions about what these basics are. Many developed countries arenow asking how education can:

O motivate young people and raise their confidence and self esteem;

o increase their employability;

O develop their skills of communication and of social interaction;

o encourage cultural tolerance and understanding;

o promote a sense of social responsibility and political participation;

o promote inclusion and combat exclusion in a world of rapid socialand economic change.

The Government has in hand a number of initiatives in education toaddress these challenges. A central strategy is the identification of six keyskills:

a. communication;

b. application of number;

c. use of information technology;

d. working with others;

e. problem-solving;

f. improving one's own learning and performance.

a t 2G

The Challenge for Education NACCCE Report 25

asNow more than ever, itis vital to encourage allareas of young people'sintellectual and person-al capabilities and torecognise that doingthis is not at odds withtheir academic develop-ment. The greatest dis-incentives to achieve-ments are low self-esteem and lack ofmotivation. Creativeand cultural pro-grammes are powerfulways of revitalising thesense of community ina school and engagingthe whole school withthe wider community.

DU

Professor KenRobinson

26

We endorse these priorities and we want to add to them. We are living intimes of enormous opportunity. Our education system has been largelyshaped by the needs of an industrial economy and by particular views ofability and intelligence. In our view, the result has been that many areas ofyoung people's potential of their real resources are untapped andneglected. Among them are powers and talents that will be offundamental importance to them and to society in meeting the challengeswe have described. A commitment to developing human resources mustinvolve a fundamental review of what these resources are; of the types ofteaching that are needed to develop them; and of who should be involvedin education. The strategy we propose for creative and cultural educationis intended to contribute to this. The starting point is to say what wemean by creative and cultural education, why they are so important, andhow they are related.

27

The Challenge for Education NACCCE Report

Creative Education

Introduction

The word 'creativity' is used in different ways, in different contexts. It hasan 'elusive definition''. The problems of definition lie in its particularassociations with the arts, in the complex nature of creative activity itself,and in the variety of theories that have been developed to explain it. Somepeople doubt that creativity can be taught at all. They see creativity as anatural capacity with limited room for improvement through education.Our proposals are intended to show that creativity can be developed andhow this might be done. In this section we offer our definition of creativityand the implications we see for promoting the creative development ofyoung people.

Defining Creativity

Creativity is obviously to do with producing something original. But thereare different views of what is involved in this process and about howcommon the capacity for creativity is.

Sectoral Definition

Many people associate creativity primarily with the arts2. Music, drama,art, dance, literature, and the rest, are often called 'the creative arts'. Aswe said in Chapter One, the professional arts and associated fields arenow known as the 'creative industries'. The 'creative arts' are oftencontrasted with the sciences, which tend to be thought of as uncreative.One of our aims in this report is to emphasise the importance of the artsand their essential place in creative development. But creativity is notunique to the arts. It is equally fundamental to advances in the sciences,in mathematics, technology, in politics, business and in all areas ofeveryday life.

'itriik 4%

2aCreative Education NACCCE Report

aQThere are few areas oflife where the nation'spriorities for education,health, employmentand industry are notdependent on thedevelopment and appli-cation of creative practi-cal skills.

Crafts Council 1998

27

DD

aQIf you think there is onlyone answer, then youwill only find one.

UU

Scottish ConsultativeCouncil on theCurriculum 1996

Elite Definition

It is sometimes thought that only very rare people are creative and thatcreativity involves unusual talents. The literature of creativity often focuseson the great men and women who have produced or made path-breakingcompositions, paintings, inventions or theories. Such people, it issometimes said, make their mark without special help and may even gainstrength from educational failure. For both reasons it is assumed thatthere is limited scope and little point in trying to educate for creativity.Obviously, there are people with exceptional creative gifts. The eliteconception of creativity is important because it focuses attention oncreative achievements which are of historic originality, which push backthe frontiers of human knowledge and understanding. Theseachievements constitute the highest levels of creativity. Education mustcertainly nurture young people who are capable of such achievements.But there are other considerations.

Democratic Definition

In our view, all people are capable of creative achievement in some areaof activity, provided the conditions are right and they have acquired therelevant knowledge and skills. Moreover, a democratic society shouldprovide opportunities for everyone to succeed according to their ownstrengths and abilities. Meeting the various challenges we have described,economic, technological, social, and personal, involves realising thecapacities of all young people, and not only those with obviouslyexceptional ability. There is no doubt that some highly creative individualsdo thrive in adversity we have such people on this committee. Butothers do not. There is no way of knowing the current scale of frustrationor waste of creative capacities in our schools. In our view:

a. creative possibilities are pervasive in the concerns of everyday life,its purposes and problems;

b. creative activity is also pervasive: many people who are beingcreative do not recognise that this is what they are doing;

c. creativity can be expressed in collaborative as well as individualactivities, in teamwork, in organisations, in communities and ingovernments.

For all these reasons, we favour a democratic conception of creativity: one

which recognises the potential for creative achievement in all fields ofhuman activity; and the capacity for such achievements in the many and not

the few. To justify this approach we need to say what we mean by creativity.

Creativity: Our Definition

Defining a process that covers such a wide range of activities andpersonal styles is inherently difficult. Ours is a stipulative definition, but ittakes account of what we understand about the nature of creative

2S28 Creative Education NACCCE Report

processes and of the ways in which key words are used in differentcontexts. It is also in a sense an indicative definition in that it points tofeatures of creative processes that we want to encourage for educationalpurposes. Our starting point is to recognise four characteristics of creativeprocesses. First, they always involve thinking.or behaving imaginatively.Second, overall this imaginative activity is purposeful: that is, it is directedto achieving an objective. Third, these processes must generatesomething original. Fourth, the outcome must be of value in relation to theobjective. We therefore define creativity as:

Imaginative activity fashioned so as to produce outcomes thatare both original and of value.

We want to comment briefly on these four characteristics. On this basiswe will develop our view that creativity is possible in all areas of humanactivity and that everyone has creative capacities.

Four Features of Creativity

Using Imagination

Imaginative activity in our terms is not the same as fantasising or imaging,although it may involve both. It is not simply producing mentalrepresentations of things that are not present or have not beenexperienced. Imaginative activity is the process of generating somethingoriginal: providing an alternative to the expected, the conventional, or theroutine. This activity involves processes of thinking or behaving. Thebehaviour may include activities where thought is embodied in themovement: such as in performance and other forms where there is notnecessarily prefigurative thinking. Imaginative activity is a form of mental

play serious play directed towards some creative purpose. It is a modeof thought which is essentially generative: in which we attempt to expandthe possibilities of a given situation; to look at it afresh or from a newperspective, envisaging alternatives to the routine or expected in anygiven task. Creative insights often occur when existing ideas arecombined or reinterpreted in unexpected ways or when they are applied inareas with which they are not normally associated. Often this arises bymaking unusual connections, seeing analogies and relationships betweenideas or objects that have not previously been related.

Pursuing Purposes

Creativity carries with it the idea of action and purpose. It is, in a sense,applied imagination. To speak of somebody being creative is to suggestthat they are actively engaged in making or producing something in adeliberate way. This is not to say that creative insights or breakthroughsmay not occur unexpectedly along the way, for example by intuition ornon-directed thought, but they occur on the way to something: to meetingthe overall objective, or to solving the central problem. This can be ahighly dynamic process, whose eventual outcomes can be quite different

0.1)

Creative Ention NACCCE Report

aQI decided I was onlygoing to do things for the

fun of it and only thatafternoon as I was taking

lunch some kid threw upa plate in the cafeteria.There was a blue medal-

lion on the plate theCornell sign. As the plate

came down it wobbled.It seemed to me that the

blue thing went roundfaster than the wobbleand I wondered whatthe relationship wasbetween the two I

was just playing; no

importance at all. So I

played around with theequations of motion ofrotating things and I

found out that if thewobble is small the bluething goes round twiceas fast as the wobble. I

tried to figure out whythat was, just for the funof it, and this led me tothe similar problems inthe spin of an electronand that led me back into

quantum electrodynam-ics which is the problemI'd been working on. I

continued to play with itin this relaxed fashionand it was like letting acork out of a bottle.

Everything just pouredout and in very short

I worked the

out for which I

won the Nobel

orderthings

later

Prize.DU

Richard Feynmann,Nobel Prize-winningPhysicist

29

DDCreative 'play' seek-ing to see the worldafresh is at times afight against the fasci-nation which familiarassociations and direc-tions of thought exerton us. Young peopleneed to be encouragedto understand theimportance of this kindof 'play'.

Professor LewisMinkin

DD

BL7

The creation of some-thing new is notaccomplished by theintellect alone but bythe play instinct. Thecreative mind playswith the objects itloves.

DU

C. G. Jung

BBImagination is moreimportant thanknowledge.

DU

Albert Einstein

30

than from those anticipated at the outset. Sometimes the objectivechanges as new ideas and possibilities come into view: sometimes, aswith inventions and discoveries, new purposes are found when an initialproduct or idea has emerged.

Being Original

Creativity always involves originality. But there are different categories oforiginality3.

O Individual

A person's work may be original in relation to their own previouswork and output.

o Relative

It may be original in relation to their peer group: to other youngpeople of the same age, for example.

o HistoricThe work may be original in terms of anyone's previous output in aparticular field: that is, it may be uniquely original.

There can also be degrees of originality within these categories: of greater orless originality in relation to individual or group output. Originality in creativework will often be judged to be of the first two categories. For reasons wecome to, this can be of considerable importance in the general education ofeach individual. But in our view exceptional individual achievement that is,of historic originality is also more likely to emerge from a system ofeducation which encourages the creative capacities of everyone.

Judging Value

We described imaginative activity as a generative mode of thought;creativity involves a second and reciprocal mode of thought: an evaluativemode. Originality at some level is essential in all creative work, but it isnever enough. Original ideas may be irrelevant to the purpose in hand.They may be bizarre, or faulty. The outcome of imaginative activity canonly be called creative if it is of value in relation to the task at hand. 'Value'here is a judgement of some property of the outcome related to thepurpose. There are many possible judgements according to the area ofactivity: effective, useful, enjoyable, satisfying, valid, tenable. The criteriaof value vary according to the field of activity in question.

Creative activity involves playing with ideas and trying out possibilities. Inany creative process there are likely to be dead-ends: ideas and designsthat do not work. There may be many failures and modifications and muchrefashioning of imaginative activity before the best outcomes, the best 'fit'is produced. A similar process may then take place in terms of theapplication of creative outcomes. Evaluating which ideas do work and

31Creative Education NACCCE Report

which do not requires judgement and criticism. In this way creativethinking always involves some critical thinking. Understanding this is animportant foundation for creative education. There is a distinction, andthere may be differences, between the evaluations made by the creatorand those made by others. Equally, the value of something may only berecognised over time. We will come back to this later in discussing thelinks between creative and cultural development.

Critical evaluation involves a shift in the focus of attention and mode ofthinking as we attend to what is working or not working. This can happenthroughout the process of creativity and not only at the end. It canpermeate the process of generating ideas: it can involve standing back inquiet reflection. It can be individual or shared, involve instant judgementsor long-term testing. In most creative work there are many shifts betweenthese two modes of thought and focus of attention. The quality of creativeachievement is related to both. Helping young people to understand andmanage this interaction between generative and evaluative thinking is apivotal task of creative education.

The Processes of Creativity

Creative abilities are developed through practical application: by beingengaged in the processes of creative thought production: making music,writing stories, conducting experiments and so on. A key task for teachersis to help young people to understand these processes and to gain controlof them. These are particular techniques and skills which are specific todifferent disciplines and forms of work. But there are also some generalfeatures of creative processes which young people need to experienceand recognise.

Creative processes in all disciplines normally involve an initial phase ofdrafting: of giving an idea a rough shape or outline. This may be the firstnotes of a melody; a first image or metaphor; the first sketch of a problemin mathematics. The process of development is commonly one of'successive approximations' in which the idea is shaped and clarified inthe process of exploring it. The final phases are often to do with refiningthe detail of the expression: with producing the neat copy, so to speak.The classical division of stages in creative thought preparation-incubation-illumination then verification4 is contested in various ways by different

Creative Education NACCCE Report

DDAs I watched my sister,a developmental biolo-gist, from a distance inher own environment, Icould tell that her labprocesses were notthat different to my stu-dio ones. In science atthe bench much as thepotter at his wheel, orthe sculptor at his blockof wood there is a

process of preparation,some questions posedearly on and a distinctfeeling of grafting awayuntil a result winsthrough. There followsa period of steppingback, more questions,what does this resultsay to me? How can I

change the outcome?Is there anything that'failure' can teach me?And then back again, toretry or reshape thework in hand. DD

Professor HelenStorey

31

aQNine out of ten of myexperiments fail, and

that is considered a

pretty good recordamongst scientists.

DU

Professor Sir HaroldKroto, Nobel prize-winning chemist

g3§

scholars but it does alert us to the common pattern of focus, withdrawaland then breakthrough and to the key point that creativity is a process, notan event. The form of this withdrawal from thinking about a problem, andthe best circumstances for its success, are personal to the individual butoften involve waking/sleeping moments, or- a 'moving meditation' as wedo other things. Creative activity involves a complex combination ofcontrolled and non-controlled elements, unconscious as well as consciousmental processes, non-directed as well as directed thought, intuitive aswell as rational calculation.

Deferment of judgement is an invaluable element as we produce ideasand then stretch them and connect them imaginatively as far as they cango. Although there is always a stage, maybe many stages, where criticalappraisal is necessary, if only to assess coherence and relate ideas toevidence, practicability, utility and audience response, generative thinkinghas to be given time to flower. At the right time and in the right way,rigorous critical appraisal is essential. At the wrong point, criticism and thecold hand of realism can kill an emerging idea.

This dialogue between initial conception and final realisation can bedelicate. It can be halted or inhibited by trying to do too much too soon orat the same time. For example, asking children to write a poem right awayin their best handwriting can destroy the spontaneity they need in theinitial phase of generating ideas. They need to be helped to understandthat creativity often develops in phases; and to have some sense of wherethey are in the process and what to expect of themselves there. We haveidentified two modes of thought: generative and evaluative. The balancebetween these must be right. In most situations, trying to produce afinished version in one move is for most people an improbable task. Notunderstanding this can make young people and adults alike conclude thatthey are not really creative after all.

We said earlier that creativity is possible in all areas of human activity andnot only in the arts. This is clearly true. Creative insights and advanceshave driven forward human culture in the sciences, in technology, inphilosophy, the arts and the humanities. The history of science, indeed theessential process, is one of continuous conjectures and of re-evaluationsof established ideas: of new insights or information, challenging andbuilding on existing knowledge. This is the source of the intellectualexcitement and creative impulse of science: that it is concerned not onlywith facts, but with what count as facts; not only with observation butwith explanation with interpretation and with meaning. The processesof scientific analysis and investigation can involve the highest levels ofcreativity and insight. Discovery in science is not always strictly logical. Itoften results from unexpected leaps of imagination: from suddenmoments of illumination in which the scientist grasps the answer to aproblem and then sets out to verify it by calculation. This can be as truefor children setting out as for experienced scientists.

33

32 Creative Education NACCCE Report

Leap of the fru-paginationSome of the most common science activities can provide opportunitiesfor teachers to witness a creative leap of the imagination wherechildren suddenly make a connection and move their own learningforward. Children were testing different materials to find out which onewas waterproof. They used a range of materials, looked at them undera microscope and made the connection that those materials with holesallowed water to flow through and that the bigger the hole the fasterthe water flowed through the material. Whilst most children acceptedthat some fabrics were waterproof and some others were not, onechild, silent for a while, obviously pondering on the different aspects ofthe activity, suddenly exclaimed, "We need to fill the holes to make itwaterproof. If we crayoned over the fabric the wax would go into theholes". This illustrates creative thinking in science where a child doesnot take the obvious route and also shows real understanding of thekey idea.

Information provided by the Association for Science Education

The creative process of the arts involves developing forms of expressionwhich embody the artist's perceptions. This is not a matter of identifyingan idea and then finding a form in which to express it. It is throughshaping the individual work that the ideas and feelings are given form.Often it is only through developing the dance, image or music that theperception itself is clarified. The meaning is uniquely available in the formin which it is expressed; and it is in these forms that we express our mosthuman perceptions and feelings. The creative processes of the arts centreon the shaping and refining of a work in which its aesthetic qualities arecentral to its meaning. The look, sound and feel of work in the arts isinseparable not only from what it means, but from how it means.

It is essential for education to provide opportunities for young people toexpress their own ideas, values and feelings. In recent years, there hasbeen a new recognition of the vital importance of what Daniel Goleman(1996) calls emotional intelligence: the ability to understand, express anduse our feelings and intuition. Goleman, and many before him, points to thechanges and the problems that can follow from difficulties in understandingand expressing our emotions. The recent report by the Mental HealthFoundation (see paragraph 15) confirms these concerns. There are manyways in schools of enabling young people to discuss and express theirfeelings and emotions. Among the most important are the arts. Discussionsabout the arts in education often emphasise the value of self-expression,and this is an important idea. But there is a difference between giving directvent to feelings as in a cry of pain or a jump for joy and the creative

processes of the arts. Composing and playing music, writing poetry, makinga dance may all be driven by.powerful emotional impulses; but the processis not simply one of discharging feelings though it may involve thatbut of giving them form and meaning.


aQThis expression is

unique. If you block it, it

will never exist throughany other medium andwill be lost.

Martha Graham

DU

BnThe arts are quite sim-ply a magic key forsome children and with-in the hands of giftedcommitted teachers ofthe arts they are a keyto all children, not onlydo they open the mindof the learner, they thenreveal a cast cornucopia

of endless delight, chal-lenge and opportunity.

UU

Professor TimBrighouse, ChiefEducation Officer,Birmingham CityCouncil

33

asWhether you think youcan, or whether youthink you can't, you'reprobably right.

DU

Henry Ford

DDIf you're interested inthe ultimate characterof the physical world atthe present time ouronly way to understandit is through a mathe-matical type of reason-ing. I don't think a per-son can appreciatemuch of these particu-lar aspects of the world

the great depth andcharacter of the univer-sality of the laws, therelationships of things

without an under-standing of mathemat-ics. Don't misunder-stand me. There aremany aspects of theworld where mathe-matics is unnecessary

such as lovewhich are very delight-ful and wonderful toappreciate and to feelawed about. But if

physics is what we'retalking about, then notto know mathematicsis a severe limitation inunderstanding theworld.

DD

Richard Feynmann

34

Z30

132

Problem-Solving

Problem-solving is now recognised as a key skill in education. Developingyoung people's abilities to solve problems is fundamental to preparingthem for an independent life. Creative education can contribute directly toproblem-solving abilities in all disciplines and fields of work. But creativityand problem-solving are not the same thing. Not all problems call forcreative solutions or original thinking. Some can be solved routinely andlogically. And not all creative thinking is directed to solving problems, in theconventional sense. Composing poetry, painting pictures or 'playing' withabstract ideas in science or mathematics are not always problem-solving asnormally understood. The value of creative thinkers is not only that theysolve problems we know we have, but that they find problems we hadn'timagined and lead us on to new horizons. More opportunities should begiven to young people to sense and define problems for themselves, aswell as identifying solutions to given problems. More opportunities shouldbe given to the generation of ideas; looking at the world in different waysand playing with different possibilities and alternative solutions. Familiaritywith a wide range of problem-solving activities can lead to greatercompetence in seeing underlying patterns and analogies.

Creativity and Intelligence

Creativity is a basic capacity of human intelligence. Human intelligence isnot only creative, but multifaceted. It is for this reason that we argue thatall young people have creative capacities and they all have themdifferently.

The Variety of Intelligence

A key characteristic of human intelligence is our capacity for representingexperience in various ways. This capacity is basic to how we think andcommunicate. Verbal language is the most obvious example. As they learn alanguage, children are not only learning how to name things: they areacquiring the patterns of ideas and understanding which are inherent in their

language. In learning to speak they are also learning ways to think. But wethink and communicate in other ways too. Our experiences are of manykinds and we use a wide variety of ways to make sense of them. Wordshelp us to formulate some ideas but not others: equally mathematics makes


possible ideas which are otherwise inconceivable. There are ideas, feelingsand perceptions that will not go into either. To understand these we turn toother modes of expression and communication.

Our primary perceptions of the world are through the senses: throughlight, sound, shape, texture, smell and movement. We do not onlyexperience the world in these different ways, we think in them too. Aperson painting a picture is thinking visually; a musician is thinking insound. Dancers think in space and movement. These are not substitutesfor words; they illustrate the rich diversity of human intelligence and themany different modes in which we think and communicate. A painter isnot producing images of ideas that could be expressed equally well inwords or numbers. He or she is presenting visual ideas. Musicians areexpressing ideas that can only be fully understood through music.Conventional education tends to emphasise verbal and mathematicalreasoning. These are vital to the intellectual development of all youngpeople but they are not the whole of intelligence.

Most children spend most of their time in school reading, writing andthinking in words or numbers. In higher education, essay writing and notetaking are the principal forms of study. Using words and numbers areamong the highest achievements of human intelligence, but if it werelimited to these, most of personal experience would be incommunicableand most of human culture would not have happened. The worlds we livein are as rich and various as they are because our minds are so complexand diverse. Philosophers, psychologists and educationalists have longrecognised this diversity of human intelligence. A recent formulation isHoward Gardner's theory of multiple intelligences (Gardner 1993). Gardneridentifies seven forms of intelligence: linguistic, mathematical, spatial,kinaesthetic, musical, interpersonal and intrapersonal. This is not a fixedlist. There are other ways of categorising types of intelligence (White1998). The numbers of intelligences and the exact ways in which they areclassified are less important than the fact that intelligence is multifaceted.There are two important implications of this argument, for education ingeneral and for creative education in particular.

First, the tendency now is to think of children as 'able' or 'less able'.mainly on the basis of academic performance. Academic ability consistsprimarily of a facility for propositional knowledge and linear forms ofreasoning. All children have such abilities to varying degrees and it isessential that they should be developed. But it is neither accurate norresponsible to judge children's intellectual abilities in general on the basisof these abilities alone. It would be more accurate to think of all childrenhaving a profile of abilities across a wide range of intelligences. Second,children who perform poorly in conventional academic tests may havestrong abilities in other areas. Children with high academic ability may behighly able in other areas too. A child with poor spatial abilities may havehigh linguistic or aural intelligence. Some children have particularcapacities for mathematics, for music, for dance, for languages, or for

fief 36Creative Education NACCCE Report

aQThe creative artist is anobserver whose brainworks in new waysmaking it possible toconvey informationabout matters thatwere not a subject forcommunication before.The discoveries of theartist and the scientistare exactly alike in thisrespect. Artists havediscovered newaspects of space withone symbolism just asphysicists had withanother.

J. Z Young 1987

DD

DDThere is no such thingas a single generalintelligence, which weall possess to a greateror lesser degree. We allhave a unique combina-tion of different kindsof abilities, which canand do change through-out our lives.

DD

Scottish ConsultativeCouncil on 'theCurriculum 1996

35

asEach of us have a

different mosaic ofintelligences. Uniformschooling ignores thesedifferences.

Howard Gardner

DD

36

4(5

ail

several of these. When children discover their real strengths, there can bea dramatic change in their overall motivation in education. Judging childrenagainst a single standard of ability can misrepresent their own individualstrengths. Discovering them can enormously increase self-esteem,confidence and achievement as a whole. A commitment to developingchildren's human resources must begin from a recognition of how wide,rich and diverse these resources really are.

The Dynamics of Intelligence

Intelligence is multi-dimensional: it is also dynamic. In the 1960s, researchin the USA suggested that the two hemispheres of the brain have differentfunctions. The left hemisphere was found to be largely concerned withlogical, analytical thought: the right hemisphere with more 'holistic' modesof thinking, with recognition of faces, patterns and with spatial movement.The two halves of the brain are joined by a shaft of nerve fibres, the corpuscallosum. This facilitates interaction between the two hemispheres andbetween different modes of activity. More recent studies confirm thatdifferent areas of the brain are strongly associated with different types ofactivity: with speech, emotions, touch, spatial orientation and so on. Theyalso show that the brain does not work in separate, isolatedcompartments, but as a whole dynamic system. Different areas of thebrain work together during different types of activity. During speech, forexample, the patterns of brain activity are different according to whetherwe are speaking our mother tongue or a second language.

Some modes of thinking dominate in different types of activity the auralin music, the spatial/kinaesthetic in dance, the mathematical in physics.But these, and most other forms of intellectual activity, draw on differentareas of intelligence simultaneously they are multi-modal.Mathematicians, for example, often talk of 'visualising' problems andsolutions. Dance is closely related to musical understanding: visual artsdraw deeply from spatial intelligence. The composition of music is ofteninformed by an understanding of mathematics. Research in Europe andthe United States (Fox & Gardiner 1997) has suggested for example thatmusic education can have a direct effecton improvement in mathematical ability.Equally, drama can be a powerful way ofpromoting skills in reading, writing and inspeech. Creative insights often occurwhen new connections are made betweenideas or experiences that were notpreviously related. This happens across aswell as within different modes of thinking.

3;Creative Education NACCCE Report

48

Learning through your BodySusie attends a special school where she has a weekly session with adance-movement specialist. Susie likes writing and has a lot to say. Buther teachers can only read a portion of what she writes, because Susiedoesn't notice the edge of the paper. As she writes, she works her wayacross the paper, then onto the desk, until she comes to the end of herreach. Then she returns to the page and starts all over again. Noamount of talking about it made any difference; bigger paper didn'thelp. Then her teacher asked the dance-movement specialist if shecould help. They worked with an aspect of movement called 'flow'. Itconcerns the way a person allows energy to pass through and out ofthe body, or, at the other end of the spectrum, the way they hold it in.Susie moved with lots of 'free flow'. Her movement seemed to go onand on; if you clapped your hands and said stop, it took her a long timeto come to some sort of stillness, but even then there was movement.Together they played 'flow' games; letting the energy go, then trying tostop it and hold it inside. Gradually the games moved closer to the skillof stopping at the end of the page. They played, move your arm againstthe floor and now "stop!". They got out paper and played, move yourarm across the paper and then "stop!". Susie returned to the classroomand never wrote off the paper again. She needed to learn this throughher body, not her intellect.

Information provided by Jabadao

Developing Creativity

There is considerable debate about, and a growing body of research intothe idea of transferable skills: that is, skills of creative thought andproduction that apply in different domains of activity. The literature andmany of the practical programmes on creative thinking certainly suggestthat there are general skills that can be used across many different fields. Itis also the case that some people are creative in many areas. The followingthemes are suggested by experience and research and are important inplanning policies and strategies for creative education.

Creativity is best construed not as a single power, which you eitherhave or do not, but as multidimensional: Creative processes involvemany different mental functions combinations of skills andpersonality attributes'. They involve special purposes for familiarmental operations' and the more efficient use of our ordinaryabilities, not 'something profoundly different' (Boden 1990:259).

Some creative abilities are 'domain specific'. Some of the specificskills and techniques of mathematics or physics or drawing orplaying the piano are specific to those activities and do notnecessarily transfer to each other nor to other areas.

Creative Education NACCCE Report

asIntelligence is multifac-

eted. The arts are alsomultifaceted. Theyinvolve intellectual, emo-

tional, social, cultural,

spiritual, moral, political,technological and eco-nomic understandingand inquiry, as partici-pants and as viewers.Each of these facets can

dominate at any onetime, but can combine.Our knowledge and

understanding of intel-

lectual abilities are

extended through theparticipation in and study

of the arts. Through thisparticipation and studyintellectual and otherintelligences are extend-

ed and nurtured.DD

Lindsey Fryer

aQLook and you will findit. What is unsoughtwill go undetected.

DU

Sophocles

37

asPeople assume that as

an innovator, I breakrules. I don't. I relish

rules. I just like rewrit-ing them.

DU

Lord Stone ofBlackheath

38

a

go

0 The creative strengths of any one person may be specific toparticular fields or types of activity: Creativity involves working in amedium. The medium may be conceptual, as in mathematics. It mayinvolve a physical medium: an instrument, clay, fabrics or steel. Formany people, creative ability is stimulated by the 'feel' of thematerials and the activity in question. If a person does not find theirbest medium, they may never discover what their creative potentialis, and never experience the pleasures, satisfactions andachievements that follow.

Experience suggests that some, perhaps many people feel disaffected byeducation and suffer a sense of failure precisely because they have neverdiscovered where their own unique abilities lie. For all of those reasons,schools need to promote a broad approach to creativity across thecurriculum and a broad and balanced curriculum. In doing so, it isimportant to recognise two fundamental dynamics of creative processes.

Freedom and Control

Creativity is not simply a matter of 'letting go'. It is sometimes assumed thatcreativity only emerges from 'free expression' and lack of inhibitions orconstraints. This is very misleading. Freedom to experiment is essential forcreativity. But so too are skills, knowledge and understanding. Being creativein music, or in physics, or dance, or mathematics, involves knowledge and

expertise in the skills, materials and forms of understanding that they involve.It is possible to have a limited creative impact in some fields with littleknowledge of them. But sustained creative achievement involves knowledgeof the field in question and skills in the media concerned. Creativity in musicrequires increasing control in the production and dynamics of sound:creativity in mathematics or science requires increasing skills in numeracy. Itis possible to teach all of these and not promote creative ability at all: indeed,

to stifle it. But the alternative is not to disregard the teaching of skills andunderstanding, but to recognise the mutual dependence of freedom andcontrol at the heart of the creative process.

Creativity and Culture

There is a further point which has important implications for teachingmethods and for the curriculum. Creativity is sometimes seen as anentirely individual process. The popular image of creative genius is of thelone individual producing unique insights out of the air. Some individualsdo work alone, and the course of history has been changed by theextraordinary creative insights of particularly gifted people. But foreveryone, creative achievement always draws from the ideas andachievements of other people: from the books, theories, poems, music,architecture, design and the rest that mark the trails of other people'screative journeys. Just as different modes of thinking interact in a singlemind, individual creativity is affected by dialogue with others. In theseways, creative development is intimately related to cultural development.


Conclusion

In this section we have defined what we mean by creativity and what wesee as its main features. Creativity is possible in all fields of humanintelligence; and this is diverse and multifaceted. Genuine creativeachievement involves knowledge, control and discipline combined withthe freedom and confidence to experiment. In the next chapter we relatethese arguments to our conception of cultural education.

40)Creative Education NACCCE Report 39

DDHuman life dependsupon language, art andall the complications ofculture as much as onfood it would ulti-mately collapse withoutthem.

DU

J. Z Young 1987

40

Cultural Education

Introduction

In this section we set out our definition of culture and of the roles ofcultural education. We argue that creative education and cultural educationare closely related and that there are important implications for thebalance of the school curriculum and for teaching and learning.

Defining Culture

Like creativity, culture is a term that is used in many ways in differentcontexts. It is a term with a complicated history and with a range ofdifferent, sometimes conflicting meanings. Like creativity, culture isstrongly associated with the arts and letters. While accepting theimportance of this particular sense of culture, we want to adopt a moregeneral definition which includes, but goes beyond, it. The exclusiveassociation of culture with the arts overlook many other aspects of humanculture, including, not least, science and technology.

Sectoral Definition

Since the late eighteenth century, culture in one sense, has meant ageneral process of intellectual or social refinement. This is the sense inwhich a person might be described as 'cultured'. This process has beenlinked particularly with an appreciation of the arts. By extension, culturehas also come to mean the general field of artistic and intellectual activitythrough which this process of refinement was promoted. It is thismeaning of culture that is implied in describing the arts and related fieldsas the 'cultural industries'. Ministries of culture throughout the world, andnational cultural policies often focus specifically on the development of thearts, including music, cinema, literature, dance, visual art and alsotraditional and folk culture, especially traditional music and dance.

Elite Definition

Within this particular conception of culture, a further distinction is often madebetween high art and popular culture. In Western European terms, high art

normally means opera, classical music, ballet, contemporary dance, fine art,

serious literature and some forms of cinema. Culture, in the sense of high artfits well with Matthew Arnold's famous formulation, "the best that has beenknown and said". Popular culture, on the other hand, is taken to mean thoseforms of creative practice that have mass appeal, including commercial

music, popular cinema, television, fashion, design and popular fiction.

On this basis, two assumptions are sometimes made which are relevant to

our argument and both of which we want to challenge. The first is that

41Cultural Education NACCCE Report

cultural education should consist principally, if not wholly, of teaching youngpeople to understand and appreciate high art, particularly works in theclassical European tradition. We think that all cultural education should

certainly include this, but in relation to particular roles which we set out later.We also think that cultural education must go much further. The second

assumption is that there is an unbridgeable gap between high art and popularculture. We think that this assumption is wrong for two reasons. The first isthat there is in practice an interaction and overlap between different culturalprocesses, including high art and popular culture. The second is that many

people enjoy and contribute to both, as informed and dynamic audiences andmakers. The interaction between different types of cultural practice, includinghigh art and popular culture, is significant for the conception of cultural

education that we want to promote.

There is, then, in the sense set out above, a strong association betweenthe arts and culture. Practising and understanding the arts in all their formsare essential elements of creative and cultural education. But thedefinition of culture must, in our view, go beyond an exclusive associationwith the arts in general and high art in particular. The importance of thesecan only be fully recognised in educational terms within a more generalsocial definition of culture: a definition which embraces the importance ofother significant fields of creative activity.

Social Definition

'Culture' as we have said has a long association with the arts. But in thiscentury particularly, the term 'culture' has also been used in a more generalsense to mean a community's overall way of life. This definition of culturehas been developed particularly in anthropology and sociology. It recognises

that different social groupings are held together by shared values, beliefsand ways of relating which are characteristic of them, and which distinguishthem from others. Most people now belong to many different culturalgroups national, local, ethnic, religious, ideological and professional. Eachhas its own values and ways of doing things, its own distinctive culture. Theculture of a group includes its sense of identity its sense of what makesit a group; and the various ways in which its identity is expressed andmaintained its patterns of behaviour and organisation.

At the heart of the social definition of culture is the concept of values:those things the ideas, beliefs, attitudes which the group considersworthy and important, and which it holds in common as a group. Thesevalues are shaped by many factors: by human nature itself, which may betaken more or less as a constant; by the physical environment, includingclimate and geography; by relations with, or isolation from, othercommunities; by religious beliefs or lack of them; by science andtechnology, by economics and by 'events'. These values underpin andshape social institutions such as the law, education and the family, andpersonal behaviour. In turn they are influenced by changes in knowledge,understanding and experience.

Cultural Education NACCCE Report

aQCulture is where welive our shared mentallives. We need a way ofunderstanding thishabitat, of treating it

with the respect andcare it deserves.

DD

Brian Eno

41

asCreative practicalengagement providesopportunities to sharedifferent cultural influ-

ences, challengereceived thinking,develop means forexpression, criticalthought and problem-solving skills.

DU

Crafts Council

42

Cultural identity is expressed and maintained in many ways. Traditionally,one defining factor of cultural groups has been a shared language and, atmore specific levels, shared dialects, accents and vocabularies. Thiscontinues to be so for cultural groupings of all sorts, even within theincreasingly pervasive use of English as an international language.Customised vocabularies, styles and rhythms of speech are among themost common ways that cultural groups and sub-groups definethemselves in relationship to others. In the fast-changing world of youthculture, new slang, styles and rhythms of speech are among the mostimportant ways in which cultural identities are created and recreated.Cultural identity is also expressed in many other ways, from styles ofdress, to patterns and structures of social relationships.

Our concern in this report is with ways of enabling young people, througheducation, to understand and make their way in the increasinglychallenging social and personal circumstances of the contemporary world.For these reasons, and because of its inherent importance for education,we will also use the term 'culture' here in this broader social sense.Accordingly, we define culture as:

The shared values and patterns of behaviour that characterisedifferent social groups and communities.

Most national communities, including our own, are a complex mix of ethnic,generational, religious, ideological and political cultural groupings whichoverlap with and affect each other. Many young people live in, and moveamong many different cultural communities, each of which might contributemore or less to their individual sense of cultural identity, or lack of it.

The ways of life the 'cultures' of groups are often intricate inthemselves and in how they relate with others that surround and intersectthem. A key example is the sense of multiple identity felt by young Britishpeople whose parents or grandparents were born in other countries andtraditions, and who now live in and between several different culturalcommunities. Understanding the complexities of cultural experience andidentity is essential in many fields of study: in social history, sociology,cultural anthropology and in the emergent disciplines of cultural studies. Forour purposes, we want to point to three features of the social cultures of thelate twentieth century which are significant for our proposals for creative andcultural education: they are dynamic, diverse and they are evolving.

The Dynamics of Culture

Social cultures can be described and analysed in terms of their differentsystems and elements: legal systems, religious beliefs, technologies,economic activities and patterns of social relations. But they can only befully understood in terms of how all of these various elements affect eachother. Three important examples of this interaction are particularly relevantto our arguments: first, the cultural impact of science and technology;

Cultural Education

43NACCCE Report

second, the dynamic relations between the arts, technology and design;third, the interaction between different cultural forms and traditions.

The Impact of Science

Science and technology interact with the social culture in many ways andat many levels. From time immemorial, technology the design and use oftools has changed the conditions and possibilities of human culture. Inthe last three hundred years particularly, and with increasing speed in ourown time, science and technology have transformed human perceptionsof how the world works and of our roles within it. Galileo, Darwin,Newton, Einstein and the rest are towering historical figures and not onlyin science. Their ideas, and the shifts of perception they provoked arewoven into the fabric of global culture and have profoundly influenced thenature and course of it.

Exploring Science through the ArtsGet SET is a science-theatrical showcase consisting of ten pieces byschool groups ranging in age from 11 to 18 years. These pieces focuson explaining and exploring scientific themes through drama, dance andmusic, using a range of styles, and were given two performances at theEveryman Theatre, Liverpool. The pupils devised and performed thepieces themselves as part of a production which was linked by thedisembodied voices of a father and daughter from the future, learningabout how science was viewed by young people from the 'past'. Thepieces all lasted between 5-10 minutes and provided a genuineresponse by young people to science, engineering and technology, andhow these things relate to them. The pieces were imaginative,entertaining, informative and thought-provoking, and the audience wasinstantly engaged and encouraged to take more interest in areas ofscience and technology explored. 150 pupils participated and thethemes of physics, biology, chemistry, computer science, technology,engineering and the past, present and future of science were all givenconsideration. Both the schools' matinee and the evening performanceplayed to packed houses, with demand for tickets far outstripping thetheatre's capacity.

Information provided by North West Arts Board

Through technology, science has also directly changed the practicalcircumstances of human life and culture. From harnessing electricity tothe new frontiers of bio-genetics; from the steam engine and motor carsto nuclear fission; from antibiotics to birth control; from railways to theInternet, science and technology have changed how we think, what wethink about, what we do and what we are able to do. For example,developments in contraceptive techniques, notably the Pill, haverevolutionised patterns of sexual morality and behaviour and deeplyaffected roles and relationships between men and women. The current

Cultural auttion NACCCE Report

BBScience is the domi-nant culture of the 20thCentury and is set tobecome even moredominant in the 21st.However, as webecome even moredependent on scientificand engineeringadvances, societyappears to become lessand less aware of it andhow they have freedthe human race fromthe slavery of existingmerely to survive. Asthe next centuryapproaches, the needthus becomes evenmore urgent that every-one should have somedeeper understandingof the way scientificprinciples underpintheir daily life. In fact,the intrinsic culturalnature of these princi-ples, as well as the waythey have been appliedfor the benefit of soci-ety, need to be

revealed. Judicious useof these advances in

the future is necessaryand this will only occurif some key scientificprinciples are under-stood at every level ofsociety.

DU

Professor Sir HaroldKroto

43

aQIn the future, creativityin industry, founded onthe interaction betweendesign and technology,will be the driver ofnational and internation-al growth. Therefore,very early in educationpupils should see thesetwo fields, arts and sci-ence, not as two cul-

1 tures to be separated,but facets to be con-joined for the good ofmankind.


DU

44

13V

revolutions in information technology are transforming the world of workfor men and women and the economic relationships between them.Science and technology offer profound evidence of the variety of humancreativity and they are implicated at every level in the formation andexpression of the social culture of the late twentieth century. Anydefinition of cultural education must take account of this.

The Arts and Technology

There is a powerful relationship between science, technology and the arts.Artists make things: new tools and materials generate new forms ofcreative practice. In 1980, the House of Commons Select Committeedefined the arts in this way (House of Commons 1982):

The term 'the arts' includes, but is not limited to music, dance, drama,folk arts, creative writing, architecture and allied fields, paintings,sculpture, photography, graphic and craft arts, industrial design,costume and fashion design, motion pictures, television, radio, tape andsound recording, the arts related to the presentation, performance,execution and exhibition of such major art forms and the study andapplication of the arts to the human environment.

Many of the art forms listed here in the early 1980s were inconceivable inthe 1780s. Film, photography and television are among the dominant artforms of the twentieth century: they did not exist in the eighteenth. It wasnot only impossible to make films then, it was probably inconceivable. Thetechnology of the moving image not only made film possible, it made theidea of film possible. Shakespeare did not read nor write novels. Therewere none in the sixteenth century. The evolution of the novel, now oneof the most popular art forms of our time, was only possible in the culturalcircumstances that followed the invention of the printing press.

The relationship between the arts and technology has always beendynamic. Technology makes new forms of expression possible: artists drivetechnology to new levels of sophistication. This is happening now withdigital technologies. At one level, the new technologies are making existingprocesses of creativity easier. There is software for musical composition,for choreography, theatre design and architecture, and this facilitates manyexisting forms of work. But new technologies are also generating new

Cultural Education NACCCE Report45

68

forms of creative practice in computer animation, sound synthesis anddigital graphics. Some of the most adventurous developments in the artsare taking place at the boundaries of the new technologies: in multimediaand cyber-technology. The new technologies are providing for newlanguages and methods and modes of creativity in the arts, now as theyhave always done. A further example is the interaction of design andtechnology and their interactions in industry and economics. Throughoutindustry designers and technologists work together; they create newproduct systems and services. Britain, because of the diversity of itspopulation and its tradition of freedom of expression, has been, in the past,one of the primary sources for this type of innovation.

High Art and Popular Culture

The conventional view of high art is that there are some works in music,painting, literature, dance and so on that are qualitatively superior toothers in their depth of understanding of the human condition, and in thepower and eloquence of their expression. In contrast, elements of popularculture are thought of as ephemeral and shallow. Both of thesestatements are true. There are examples of artistic expression, in allcultures, of transcendent beauty and power and which are in the highestreaches of human achievement. Much of commercial or popular culturemakes no such claims. But this division is too neat. There is, and hasalways been, a traffic between different areas of cultural expression. Thefact that something is popular does not disqualify it as high art. Some ofthe greatest classic writers are amongst the most widely-read. In recentyears, opera has become hugely popular through television, CDs, theThree Tenors, football, fashion shows and film. The fact that largeaudiences now enjoy opera does not detract from its expressive power orits high aesthetic claims.

Equally, art forms that have their deepest roots in popular culturecontemporary dance, cinema, jazz, rap and rock music have producedwork of intense power and eloquence. Artists of every sort live within, notoutside the social culture and they draw deeply from it in their ideas,themes, and forms of expression. A greatdeal of classical music is rooted in popularand 'folk' music. Jazz draws from thethemes of classical music as much as fromthe rhythms of popular song.Developments in contemporary dance,through Rudolf Laban and Martha Graham,

46Cultural Education NACCCE Report

aQYoung people tend toview listening to or play-ing classical music asactivities which create apoor impression amongtheir peers. Thesebeliefs do not necessari-

ly stem from somethingthat is inherent in themusic itself, but ratherfrom the cultural 'posi-

tioning' of classical

music relative to otherforms of music whichyoung people have come

to associate with theirown sub-cultures.

Dr Susan O'Neill,Department ofPsychology, KeeleUniversity

45

DD

asWe want a society thathas a sense of whatdistinguishes it from, aswell as unites it with,other societies. This

will be a society con-scious of its own identi-ty or identities, awareof its own past and ofthe different pasts ofits various communi-ties, and respectfulwithout being uncriticalof its own customs andtraditions.

Dr. Nick Tate, ChiefExecutive, CICA

DU

ril

were deeply influenced by the patterns and rhythms of ordinary humanmovement at work and play. These processes of influence and inspiration,borrowing and conversion are at the heart of creativity in the arts in allcultures and also across them. For example, some of the key figures ofmodern art, including Picasso were inspired and influenced in their work byAfrican art and imagery. Increasingly in contemporary cultures, the use ofnew technologies and the free access to many different cultural forms theyprovide, is generating dynamic fusions of forms within and across differentcultural genres and traditions between Asian, European, African andAmerican cultures and at all levels, from the concert hall to the street.

We have defined creativity as a process with outcomes that are bothoriginal and of value. But just as values differ between cultures, they alsochange within cultures over time. There are many examples in the arts asin the sciences of innovations that were not valued or understood at thetime they were made: of discoveries whose significance wasunrecognised, even condemned or ridiculed by contemporary audiences.The music of Stravinsky, the paintings of Van Gogh, and Picasso, jazz,blues, rock and rap music were all rejected before being absorbed intothe mainstream. As social and aesthetic values change, avant gardeworks of high culture can become icons of popular taste, just as workproduced for mass audiences can be assimilated into the canons of highculture. This process of re-evaluation is also true in science. The realsignificance of scientific discoveries has sometimes become apparentonly when social values have changed or when attitudes of otherscientists have caught up or when the acceptance of new paradigmschanges scientific perceptions.

The Diversify of Culture

Britain comprises an extraordinary variety of different culturalcommunities. Taken as a whole it includes people from many differentethnic traditions and backgrounds, with a wide range of religious beliefs,and of none; of political and ideological convictions and speaking manydifferent languages and dialects. Overlapping all of these there are strongregional traditions and identities; and oftenstark contrasts between rural and urbancommunities and the patterns ofpopulation and ways of life in our cities.This is not new. It follows from ourcomplex history of economic and politicalinvolvement in many different areas of theworld and from the patterns of emigrationand immigration they have involved.

tt 4746 Cultural Education NACCCE Report

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Since the 1950s, there has been a marked change in patterns ofpopulation in some cities following the settlement of families from India,Bangladesh, Bengal, Pakistan, Africa the Caribbean and from other formercolonies and dependencies. Britain is also home for large numbers ofcommunities whose cultural roots are in many different parts of Europe, inthe Middle and Far East: and to many faith communities including Jewish,Hindu, and Muslim as well as Christian. In some of our large city schoolsthere are literally dozens of languages spoken by the pupils: and in somethere is a majority for whom English itself is a second language.

This diversity is now central to the vitality of our national culture and adistinctive feature of it. There are immense benefits in this and there aredeep problems. The patterns of race relations over the past forty years,positive and negative, are well documented: the problems of racism, wherethey occur, are persistent, and insidious. An approach to cultural educationbased on the roles we identify later will help to reap the benefits of thisdiversity and to mitigate the difficulties of intercultural understanding.

The Evolution of Culture

Culture in the biological sense implies growth and transformation. This is true

of the social culture. One of the consequences of the dynamics and diversity

of social cultures is an irresistible process of change. Some years ago a

national newspaper campaigned with the slogan, "Times change, values don't".

For all the reasons we have suggested, the opposite is true. Many of the

values and patterns of behaviour in the closing moments of twentieth century

are wholly different from those of the late nineteenth century: as they werefrom the previous century. Contemporary ways of life are not only different

from those of the Victorians, they were largely unpredicted by them and were

essentially unpredictable. Cultural change is rarely linear and uniform. It results

from a vortex of influences and events which is hard enough to understand

with hindsight and impossible to plan in advance. Nonetheless, education has

to prepare young people in the best ways possible to engage with these

processes of change. What should this involve?

Absolute and Relative Values

We have associated the social definition- of culture with the idea of values:those things the ideas, beliefs and attitudes that groups or communitiesconsider of worth and importance. We have also described contemporarycultures as dynaMic and diverse. As a matter of urgency, education musthelp young people to understand these processes and to engage with andrespect cultural perspectives which may differ from their own. In part, thisis what we mean by cultural education. We will return to this idea shortly.But first, we want to comment on a view that is commonly taken whendiscussing cultural change and diversity: this is that there are no longerany core values to be taught in schools and that, instead, young peopleneed to be taught that all values are relative and that there is no basis forchoosing between them except personal preference. We do not think that

Cultural Education NACCCE Report 47

WID

this is the case in our national context. There clearly are some valueswhich are at the core of our national way of life our national culture. Twoin particular underpin many others.

The first is a commitment to the unique value and central importance ofthe individual. On this commitment is built a series of connected attitudesand beliefs. They include a belief in the right of all individuals to fulfilmentand self-realisation; to freedom of personal expression and action, providingthe freedoms of others are not infringed; and respect for different valuesystems and ways of life. On these commitments is built a network oflegal and political principles including a wide range of democratic rights andresponsibilities. These principles permeate our social, legal and educationalprocesses which in turn are meant to express and sustain them. For all itsdiversity, our national culture is rooted in the core value we attach to thelife and rights of the individual. In some national systems this is not so.

A second touchstone of our national culture is the idea of contingency: theview that things might be different from how they seem or are currentlybelieved to be. This assumption is the basis of our interests in empiricalenquiries and observations in science and of our modes of analysis in thehumanities in history, criticism, politics and philosophy. It is this thatencourages us to question current perceptions, knowledge and practicesand to believe in the virtues of openness in public and political life ratherthan closure and censure.

These two core values, and the practices and attitudes they give rise to lieat the heart of our national culture. They are not negotiable if individualfulfilment and open enquiry are to continue to characterise our way of life.It is because these are core values that our national culture is so diverseand creative. Benefiting from this diversity and promoting our creativeresources is precisely what is at issue on our arguing for a moresystematic and sustained approach to creative and cultural education.What does cultural education entail?

Cultural Education

Against this background, we see four central roles for education in thecultural development of young people.

a) To enable young people to recognise, explore and understand theirown cultural assumptions and values.

b) To enable young people to embrace and understand cultural diversityby bringing them into contact with the attitudes, values andtraditions of other cultures.

c) To encourage an historical perspective by relating contemporaryvalues to the processes and events that have shaped them.

d) To enable young people to understand the evolutionary nature ofculture and the processes and potential for change.

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Taken together these suggest key principles for the balance of teachingand learning in schools and for the balance of the school curriculum. Wewill come to these shortly but first let us comment briefly on each ofthese roles.

To enable young people to recognise, explore and understand their owncultural assumptions and values.

Most young people belong simultaneously to a range of different culturalgroups and communities. They do not develop their ideas and values inisolation. They do so in relation to the groups and communities to whichthey belong and they express them in the clothes they wear, the storiesthey tell, the jokes they like, and the music they make. All young people,particularly during adolescence, are faced with a complex task ofconstructing a sense of personal identity from what is now an acceleratingtraffic of images, ideas, pressures and expectations that surround them,from home, friends, street culture, the media and from commercialinterests of every sort.

Recorded music and images, broadcast and printed material, consumeritems mainly made mechanically, live entertainment, digital information,games and recreations, educational aids, food and drink, travel andholidays, drugs and cosmetics: these are the languages of,commercialculture as spoken to young people An adult view sees them as an ever-increasing mountain of goods and waste which require great effort tomanage. For young people, they are important as a means ofcommunication of the identities they are busy creating. Seen in thisway and the money used to buy them as a means of independence, theproducts of commercial culture should be much less frightening to us.Anything can be sold, but how it is used is another matter. Youngpeople select and discard a huge range of available material, ideas,words and images with impressive speed. The past and othercontemporary cultures provide them with the material to create anindividual style. Strangeness and difference, aspects of the other, areparticularly valuable to them in establishing the unique character whichwill guarantee their presence in the world. Young people requireflexibility of the things they take over. Their great skill is intransformation. They can make ordinary and mundane objects specialwith new uses and combinations. They adapt and they invent. Theirlanguage is precise, original and distinctive. They experiment withsensuality, the feel of substances, the pleasure of properties andmaterial goods.

Roger Hill, 1997

Commercial culture is sometimes seen as predatory on young people andthere is no doubt that the pressures they generate are intense and themarkets voracious. But young people are not simply passive consumers of

50Cultural Education NACCCE Report 49

nnIf you only understandone culture it is likeseeing with one eyeonly, but if you add thedimension of other cul-tures, you becomebinocular and thingscan be seen in perspec-tive. It allows you toappreciate much more.

Dame Tamsynlmison

DU

50

84

cultural products: they appropriate and adapt them to their own urgentneed for a sense of personal and group identity. In doing so, they alsoshape the commercial environment in which they live. Education has keyroles in giving young people the opportunities and the means to reflect onthe values and ideas which surround them: to explore them sensitivelyand critically in a range of different ways.

To enable young people to embrace and understand cultural diversity bybringing them into contact with the attitudes, values and traditions ofother cultures.

Cultural education is a complex field with many dimensions anddifficulties. It involves teaching for a diverse society: an education thatenables young people to live in a multi-ethnic and multicultural Britain. Theneed for multicultural education has long been recognised in schools,particularly at the level of policy. It is essential now to go beyondstatements of policy to forms of practice and provision which encouragecultural understanding and promote a positive sense of cultural inclusion.

There is an important difference between multicultural and anti-racisteducation. The general aim of multicultural education is to promoteunderstanding of, and respect for, other cultures by deepening youngpeople's knowledge and experience of them. Anti-racist education buildson multicultural education but it includes specific strategies to challengeracist attitudes and behaviour. Both are needed in schools. Increasinglysince the 1960s, multicultural education has been a high priority forschools in culturally diverse communities. For them the need to addressissues of diversity was immediate and urgent. Schools in morehomogeneous or even mono-ethnic areas might have felt less pressure totake up this agenda. But the need for multicultural education in suchschools is just as pressing. If young people do not have direct day-to-dayexperience of other cultures of having friends from other ethnictraditions and races they will be less prepared than others for theculturally diverse societies they will eventually encounter.

Schools and what goes on inside them cannot guarantee respect for othercultures nor that they will definitely deliver an end to the prejudice anddiscrimination of racism. But they can and must combat ignorance in whatthey teach and how they teach it; and confront prejudice and

Cultural Education NACCCE Report51

86

discrimination in the kinds of institutions they are. All in all, for pupils toemerge from schools as racists, it must be the case that they are flying inthe face of all they have been taught and have learnt there, and of theiroverall experience of the school as a community.

To encourage an historical perspective by relating contemporary values tothe processes and events that have shaped them.

We noted earlier that values and patterns of behaviour are shaped bymany factors and that they tend to change over time. Helping youngpeople to understand the processes that have influenced their own andother cultures is an essential role of education. Collectively as well asindividually, our sense of our own identity is bound up with memory andknowledge of the past. Discussing the importance of the humanities ineducation, Sir Alan Bullock (1990) emphasises the necessity of historicalunderstanding to a sense of cultural identity. He notes that any societythat turns its back on the past and falls into a 'cultural and historicalamnesia', weakens its sense of identity.

Multicultural education, as we described it earlier, has to go beyond afamiliarity with how other cultures look and sound now, to a deeperunderstanding of how they evolved and were shaped. Many culturalattitudes and practices can seem strange, even irrational, without someunderstanding of the contexts in which they emerged and the meaningsthey have acquired. An historical understanding of cultural developmentshould also enable young people to grasp the many ways in whichdifferent cultures have long intersected and shaped each other. Youngpeople need to recognise the distinctiveness of different cultural historiesand experience and their roles in shaping global cultures.

To enable young people to understand the evolutionary nature of cultureand the processes and potential for change.

A knowledge of the past is essential to understanding the present. But, asSir Alan Bullock noted, any culture that is oriented only to the past and'refuses to identify with the new elements of experience in the future' willstagnate. Education also has to engage young people in the possibilities ofchange: not only to teach them why things are as they are, but tounderstand what they might become and how. The task is to avoid theextremes of cultural rigidity of promoting absolute values with no roomfor debate; and laissez-faire the relativity of anything goes. When there istoo much rigidity, social institutions, including education, become closedsystems in which individuality is discouraged and even penalised. Whenanything goes and nothing is certain, all that has been learnt and built inthe past is lost or abandoned. It is in the balance between closure andopenness, between tradition and innovation, that creativity thrives or dies:and with it the diversity and vitality of human culture itself.

5Cultural Education NACCCE Report 51

,(1,0

We need to demandfrom our education sys-tem, and from the cur-riculum that underpinsit, pupils that do not pur-sue facts for their ownsake, but make use offacts for the purposesof understanding.

DU

Professor SusanGreenfield

52

8'8

Sal

Creative and Cultural Education

In our view, creative education and cultural education are intimatelyrelated. First, creative processes draw directly from the cultural contextsin which they take place. Artists draw from the work and inspiration ofother artists, styles and traditions just as scientists build on the insightsand achievements of the wider scientific community. Sometimes therelationship between innovation and received knowledge is positive:refining and adding to what is already known or done. Sometimes it is areaction against them: developing radically new ways of seeing. This istrue in all fields of human action.

Second, human culture is as rich, complex and diverse as it is because ofthe richness, complexity and diversity of human creativity. Culture isshaped by, and is the product of, human creativity: it is generated by ourdifferent responses to the problems of meaning and practicality withwhich we are confronted. How we see events is deeply affected by theideas and values we bring to them. History is marked by the oftenprofound changes in consciousness, in ways of seeing the world, whichcame about through the constant interaction of ideas and events: betweenscience, religion, morality, politics and the arts, and between tradition andinnovation. Education must recognise these intimate relations andpromote them throughout the school curriculum. To do so we need topromote three principles of balance in schools.

First, there must be a balance in the curriculum between different fieldsof creative and cultural education: particularly the sciences, arts,humanities, physical education and technological education. The schoolcurriculum has tended to emphasise the importance of some of thesedisciplines over others, largely because some have been thought of asmore useful or relevant to employment. This assumed hierarchy isreflected in the division in the National Curriculum between core andfoundation subjects; and in the patterns of options in many secondaryschools. In our view, and for the reasons we give throughout this report,each of these is essential to the balanced development of the individual,and to the individual's balanced understanding of the social culture: itsdynamics, diversity and development.

Second, there must be a balance within the teaching of all disciplinesbetween tradition and innovation. People are not creative in a vacuum,they are creative at something in a context. Being creative involves agrowing understanding of the possibilities, range and methods of adiscipline. Consequently, there must be a balance between young peoplemaking their own work and the coming to understand the fields in whichthey are working. Education has a duty to transmit knowledge and culturefrom one generation to the next: to pass on an understanding of whythings are as they are. Education also has to encourage imaginative andcritical thinking, the ability to hypothesise, and to question the way thingshave always been done.

Cultural Education NACCCE Report

53

gct

Third, there must be a balance between the teaching of differentcultural values and traditions. The world young people live in and willinherit is multicultural. It is essential that schools reflect and respond tocultural diversity. This means promoting respect for different culturaltraditions and practices, and an understanding of different culturalvalues and perspectives. Schools must take account of this diversity inthe forms of cultural practice they include in the curriculum and in thevalues that are promoted in teaching and learning. We develop thesearguments in Part Two.

Conclusion

In this chapter we have outlined our understanding of cultural educationand its relations to creative education. In Chapter One, we said thatcreative and cultural education are essential in helping to meet thechallenges that education and young people face. In the next chapter wesummarise some of the benefits.

54

Cultural Education NACCCE Report 53

DDCreativity is nationalincome.

DD

Joseph Beuys, TheSchool for SocialResearch, New York

aQThe post-management

corporation will be

more creative. It usedto be assumed that cre-ative individuals shouldgo into the arts, themedia, academia, or, if

forced into somethingcommercial, then intoPR, advertising, mer-chant banking, consult-ing or small businessrather than into main-stream corporations.This assumption, cor-rect even today, willbecome outdated.

DU

Managing withoutManagers, Koch andGoddin, 1996

Meeting the Challenge

Introduction

In Chapter One we identified a number of challenges to education. Inwhat ways do creative and cultural education help to meet them?

Meeting the Economic Challenge

To develop in young people the skills, knowledge and personal qualitiesthey need for a world where work is undergoing rapid and long-termchange.

Developing creative abilities is of fundamental importance in meeting thechallenges of economic development. New ideas, innovation and ingenuityin the development of products and services are increasingly important tothe economic competitiveness of companies, and of countries. These willbe needed at all levels, including in primary research, in development, indesign, production, marketing and distribution. As the global economiescontinue to change, the demand for creative resources throughoutbusiness and industry will increase. For many of those in work, thesecreative abilities will be fundamental to the processes of work. So too willbe abilities to communicate, to work in teams, and to adapt to newdemands and new opportunities. Many companies have now recognisedthe need to become 'learning organisations' and are investing significantlyin programmes of staff development to promote these qualities. Theprocess should begin in school. As the patterns of work change, all youngpeople and adults will need to adapt not only to changes in the work theydo, but to the growing likelihood of changing jobs and occupations duringtheir working lives. Promoting creative abilities and the competences andattitudes they require will be central to this process.

Meeting the Technological Challenge

To enable young people to make their way with confidence in a world thatis being shaped by technologies which are evolving more quickly than atany time in history.

New technologies are transforming our lives, and the pace of innovation isaccelerating. Creative and cultural education are essential in meeting thischallenge in two ways. First, education must enable young people toengage positively with information technologies: to know how to usethem, and to explore their potential in creative thinking and action. Wehave argued that creative processes are purposeful and that they involvegrowing control over tools and materials. New technologies are providingnew means for creative thinking and achievement and new forms ofaccess to ideas, information and people. Young people's command of new

55

54 Meeting the Challenge NACCCE Report

98

technologies will be enhanced by experiencing them as tools for creativeachievement: rather than as ends in themselves. Second, education mustenable young people to explore and be sensitive to the impact of newtechnologies on how we live, think and relate to each other: that issensitive to their cultural implications. For this reason, we have argued fora central place in the curriculum for the arts and humanities for thosedisciplines which not only use new technologies, but which are directlyconcerned with understanding cultural experience, difference and change.

There is a third point to emphasise. It has been estimated that the store ofhuman knowledge is doubling every ten years. However this is estimated,it is clear that we are witnessing an exponential growth in knowledge andinformation on a scale that is unprecedented, and, for all earliergenerations, unimaginable. This expansion is set to accelerate. One resultis an increasingly intense form of specialisation in all disciplines: atendency to know more and more about less and less. This specialisationis necessary. But the risk is that we will lose sight of the larger pictureof how ideas connect, and can inform and contextualise each other.Maintaining a balance between depth and breadth of learning is a majorchallenge for teaching and curriculum design. In these circumstances,young people need more than access to information and ideas: they needways of engaging with them, of making connections, of seeing principlesand of relating them to their own experiences and emerging sense ofidentity. These are the essential purposes of creative and culturaleducation and the need to realise them could hardly be more urgent.

Meeting the Social Challenge

To provide forms of education that enable young people to engagepositively and confidently with far-reaching processes of social andcultural change.

Young people are living through times of immense change. This can beprofoundly exhilarating: it can also be disorienting and a source of deepanxiety. Education must help young people to develop the intellectualand emotional resources to deal with change positively and critically.Creative and cultural education provide direct ways of engaging withissues of change: as it affects others and as it affects the life and

56

Meeting the Challenge NACCCE Report

aQSir Ernest Hall gave amagnificent speechrecently, showing howstudying to be a concertpianist helped him to beexceedingly successfulin business because herealised business entre-preneurialism is essen-tially creative. When heretired at the age of 65he was able to go backand record piano

sonatas, because suc-cess in business gavehim the confidence tocreate art.

UU


B.0

In any self-organisingsystem there is an

absolute mathematicalnecessity for creativity.

Edward de Bono

55

DD

aQThe Arts Council is

already working on howbest the arts can play ameaningful role in taking

young and long-termunemployed people offbenefits as part of theGovernment's New Deal

programme, and howbest they can contributeto policies alongsideGovernment depart-ments aimed at tacklingsocial exclusion.

DU

Gerry Robinson,Chairman, ArtsCouncil of England

56

ee

feelings of the individual. We noted in Chapter One the profound effectsof economic change on communities and ways of life. Creative andcultural education have particular roles in developing the skills andaptitudes which are needed for new and rapidly changing forms of work.They can also be vital elements in developing a sense of communitypurpose and of social coherence, both in schools and beyond, through awide network of partnerships and shared enterprise. There are nowmany examples of initiatives in social regeneration which set outspecifically to build on the creative strengths and cultural resources ofcommunities through initiatives in the arts, technology and the sciences.Such initiatives can mitigate the economic problems of changingpatterns of work while, and by, restoring confidence and communityspirit through shared creative projects.

Raganarafting a Whole TownHuddersfield is midway through its three-year Urban Pilot Project,which aims to demonstrate, on behalf of the European Commission,how creativity might be nurtured, not just in individuals but in a wholetown. It is believed that the creativity and prosperity of a town cangrow unchecked if a system can be developed for releasing humanpotential. The Huddersfield Creative Town Initiative (HCTI) is based onthe Cycle of Creativity generating ideas and then turning them intoreality, circulating and marketing ideas, setting up platforms fordelivery, and promoting and disseminating these ideas. The range ofprojects which constitute HCTI broadly follow these five stages of thecycle. One of the creative initiatives in this project is that ofArtimedia's Enter and Return training courses. Since April 1998 over100 people have been trained in the creative uses of computing, withcourses ranging from 'absolute beginners', for those who have nevertouched a computer, to 'web weaving', which looks at cutting-edgetechnology and new developments on the world-wide web. Byintroducing local people to the creative potential of new technologies,the company is opening up new ways of thinking about and usingcomputers and encouraging people to experiment with computers intheir own areas of interest.

Information provided by Huddersfield Creative Town Initiative

Many reports have pointed to the positive opportunities of culturaldiversity and the problems that arise when intercultural understandingbreaks down. The Macpherson report (1999) is the most recent, and themost compelling. For all young people, one of the most difficult tasks isto forge a sense of personal identity and belonging. Among the complexeffects of economic and social change are those of exclusion: of a senseof being alienated from mainstream society by unemployment, culture orpersonal loss of motivation. Schools must address these issues withpassion and determination.

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Meeting the Challenge NACCCE Report

The Government's view, which we endorse, is that there is too often a gapbetween the community and the schools that exist to serve them. There are25,000 schools in England, and the majority are doing well. But where thereare problems, practical strategies must be found to connect the cultures ofschools with the wider community, and to bridge the gap. A starting point isto recognise and validate the cultural experience of minority groups and toengage them in the cultural life of the school. Creative and cultural educationcan provide powerful and direct ways of achieving this, and of raising theself-esteem and motivation of young people who, for cultural and otherreasons, feel marginalised and alienated.

Dance for Expelled TeenagersArlette George from Greenwich Dance Agency undertook an intensivefour week pilot programme with a small group of 14-year-olds who hadbeen expelled from schools in Camden. The group met four times aweek. Although most of these teenagers had been expelled for violentbehaviour, their responses were generally inhibited and withdrawn, orfull of bravado. Most of their energy was spent in setting up the meansto disguise identity and feelings. The prime objective was to use dance,games and discussion to encourage responses that were direct anduncomplicated. A parallel process to the dance work emerged withintheir everyday interactions before and during session breaks, when thechildren started to open up about their personal circumstances.Listening became a vital aspect of the work where the realities ofracism, sexism, assault, truancy and underage sex were revealed withthe 'hype'. The occasions where their depth of confusion was no longerbeing disguised by tantrums or similarly where laughter broke mountingtensions, acted as encouraging signs of the process they hadundertaken. Against all odds the initiative affected their lives andencouraged them to go back to school.

Information obtained from the Spring 1997 edition of animated

53Meeting the Challenge NACCCE Report 57

aQThere are people in theworld who have to cre-ate to live it's justsomething they have todo. There are otherswho live to create . . .

and then there are peo-ple (most of us I think)

who are creative, butdon't know what to dowith it how to use it. I

think these people could

be nudged in the rightdirection by teachers!

DD

Lenny Henry

aQThe most importantthing is the good ques-tioning brain which canbe developed in thearts or in maths.

DU

Clare Lorenz,architect, OFSTED layinspector, and Vice-Chairman of Childrenwith High Intelligence

Meeting the Personal Challenge

To develop the unique capacities of all young people, and to provide abasis on which they can each build lives that are purposeful and fulfilling.

Motivation and self-esteem are crucial factors in raising standards ofachievement. All young people tend to be considered as able or less-able ineducation, primarily on the basis of academic performance. But many ofthese less-able children may have significant abilities in areas which areoverlooked by schools. This can be a powerful source of disaffection andunder-achievement. This is not a new problem. Many adults have negativefeelings about their education. Some think of themselves as educationalfailures, even when they have had great success since leaving school. Thisis particularly true of those who failed the 11-plus, by definition a majorityof those who took it. Some of the brightest, most accomplished people ofour times feel this stigma, no matter what they have achieved since. Itmay be that they failed because schools were not looking at what theyreally had to offer. At the same time as raising standards in literacy andnumeracy, we must provide opportunities for achievement in other equallyimportant areas of ability. The alternative is that some young people neverfind out what their real abilities are, and most young people never discoverall of them. Research and common sense suggest four key principles:

O all young people have a wide range of abilities;

o these abilities are dynamically related and interactive;

O all children have strengths in different areas of ability;

O success in one area can stimulate self-esteem and encouragesuccess in others.

These principles are important for all children: they are especiallyimportant for some.

59


Poems Addressing Social IssuesThe Warwickshire Artists' Team organised a year long residency by thepoet Andrew Fusek Peters in Warwickshire schools. During this time,he visited over 30 schools and worked with all ages from nursery toteachers. The poems produced at the workshops have been assembledinto a 150 page book, also including illustrations by the children. Thepublication of these poems has given the children a sense of pride intheir abilities. A wide range of topics are addressed through thesepoems, including serious social issues like bullying and divorce. Thefollowing example by Theresa Anderson (Year 10) from NorthLeamington School gives a flavour of the work produced.

FeelingsTears are rolling marbles, crossing the bridge of my nose.Heart beats like a drum on a marchEmotions overboiling water on a stove.Thoughts wrapped like a ball of wire, rolling down a bumpy hill.Face crushed as a ball of paper in a bin.Hands shaking like a tree, windscreen wiping the wind.

Information provided by Warwickshire Artists' Team

Many children have special needs. For those with disabilities theconventional curriculum can pose particular disadvantages. For those withimpairments, in sight, hearing or speech, conventional forms ofcommunication are inherently difficult. It does not follow that they are lessable overall, or unintelligent. Many young people with disabilities haveprofound abilities, but in areas which the conventional curriculum neglects.For others, the opportunity to communicate through other forms ofexpression, including music, movement or art, can provide essentialchannels of communication to express ideas which are inhibited byconventional forms of speaking and writing. The point is not that the artscompensate for disability: it is that present conceptions of ability are toonarrow. By broadening our understanding of the capabilities of all children,we will reassess the potential of those who, in conventional terms, arethought to be less able.

60Meeting the Challenge NACCCE Report

aQWe must educate thewhole child creatively,

culturally, spiritually,morally, physically,technologically as wellas intellectually. Goodteachers recognise thisand develop the child tohis/her potential. Thegreatest gift you cangive a child is self-esteem and confidencein their ability. If a childhas these, no challenge

is too great for him/her.DU

Carol Traynor

59

asIn all parts of the world,that so-called intangiblecapital is the most valu-able resource ofadvanced economics,without which the nat-ural endowments ofnations their finan-cial power and fixedcapital will becomedwindling resources.No nation can nowa-days claim to have

achieved a high qualityof growth if elementsof its human potentialremain untapped or

under-used.DU

Ceri Jones

60

Extending OpportunitiesCloughwood is a successful residential special school for 65 boys whohave emotional and behavioural difficulties. Our belief is that every pupilmust be presented with an outstanding 24-hour curriculum. Twentyyears ago, this philosophy was out of step with most other specialschools, but it is now accepted as the most effective methodology formeeting these pupils' needs. Our pupils achieve outstanding GCSEexamination results, specifically in art. The average points score inGCSE for our pupils is above average for comprehensive schools in thecountry. Pupils on entry to the school tend to have a low self-esteem.Our creative education programme is an excellent means of boostingtheir confidence and helping them to develop pride in themselves andtheir work. There are regular theatre visits and cultural experiences thatmake an impression on them for life. Our pupils seek out opportunitiesto perform in a range of creative activities. Our extended educationprogrammes place significant emphasis on creative and culturalactivities. OFSTED has identified Cloughwood as one of a number ofgood special schools across the country. Inspectors said that: "manyopportunities exist which enable pupils to appreciate their own culture.The school also succeeds in ensuring that pupils appreciate thediversity and richness of other cultures. 1...] Art makes a majorcontribution to the life of the school. The quality of work on displaythroughout the building is magnificent". It has been recognised that"pupils live and learn in a rich and stimulating environment".

Information provided by Cloughwood School

Developing Human Resources

We have argued that education must change as we enter the post-industrial world. It is now widely recognised that, during the industrial age,developed nations made very partial use of the earth's natural resources.In the interests of particular industrial processes and products, some ofthe earth's resources have been over-used and others spoilt or discarded.The force of ecological argument in relation to the environment is nowaccepted: that there is a delicate balance in the earth's resources and thatmany resources that were once thought to be useless are now seen tohave critical roles in the balance of nature. We see an analogous argumentfor human resources. Politically and economically much is made of theneed to develop human resources. But in practice, education has focusedon limited areas of those resources. Many other human resources havebeen discarded or ignored because there was no obvious use for them. Itis now clear that there is a delicate human ecology and that maintainingthe balance and developing the breadth of these resources is vital to theindividual and to the health and stability of the societies we create. Thiswas always so, but it is becoming ever more important in the new,interdependent and increasingly complex societies of the modern world. Ifeducation is to make the most of human resources, we must begin with afuller and clearer understanding of what those resources actually are.

61Meeting the Challenge NACCCE Report

Realising PotentialWhen the guidelines for specialist school status were published, bothKidbrooke and Thomas Tallis Schools considered applications. This wasnot just because examination results in these areas were high, butbecause of the contributions the arts make to the ethos of the schoolsand to students' learning. The arts play a vital role in raising the self-esteem and self-confidence of students. Through performance, youngpeople gain pride in their achievements. Students learn to reflect ontheir work, to analyse strengths and weaknesses; they test out aversion of their work and, after evaluating it, they revise and hone ituntil they are satisfied. They learn that it is safe to take risks: that bypractising and repeating they are able to improve and develop an idea.By viewing other people's work, that of professionals and otherstudents, they experience situations and visions through someoneelse's eyes. The arts allow young people to explore emotions and fearsin a safe, controlled situation. They are able to look at difficult andpainful situations by externalising them and putting them into the thirdperson. They can take risks in finding solutions to problems without itaffecting their own relationships so that they can choose the best wayin 'real' life. They can explore new ideas and develop theirunderstanding of the world. They learn to compare experiences fromdifferent cultures and different eras. They begin to find out about thetechnologies which surround the arts and the skills which are vital tothe cultural industries. The arts are not a diversion from the 'real'curriculum. They are a vital part of the life of a school and can be centralto raising achievement.

Trisha Jaffe & Nick Williams, head teachers, Kidbrooke School &

Thomas Tallis School

If young people are to make their way in the twenty-first century they willneed all their wits about them, literally. The problem in education is notonly that standards of achievement have been too low; they have alsobeen too narrow. An education system which focuses only on one modeof intelligence or on a limited range of cultural experiences isunderestimating the larger part of children's natural capacities andresources. If education is to develop human resources, we must firstrecognise how rich and various these resources really are. Outsideschools, the fertility of human intelligence is evident in the richness ofhuman culture. A balanced education must provide opportunities for allyoung people to explore and develop the different aspects of theirintelligence, through a balanced curriculum and challenging processes ofteaching and learning.

6Meeting the Challenge NACCCE Report 61

En'

Original thought, andrespect for originality ofothers, must surely lieat the heart not just ofcreativity, but also indi-viduality our onlychance of twenty-firstcentury escape fromzombie-ness.

DU


1]0§

Conclusion

Our concerns with creative and cultural education point in two directions.First, to making the most of young people's own resources: what theyhave within them. Second, to helping them to understand the world thatsurrounds them and of which they are part. We see creative and culturaleducation as fundamental to meeting the challenges that education nowfaces. Creative and cultural development are important in themselves:they are also intimately related. In Part Two we consider the implicationsfor the structure of the curriculum, for methods of teaching and learningand for methods of assessment.

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aQA core aim of our edu-cation system must beto enable all children todevelop their creativityand unlock their cre-ative potential... If theinnovative and creativeminds of tomorrow areto be nurtured and

inspired, teaching hasto be developed in a

way which appeals tothe creative and emo-tional and whichencourages conceptualthinking. The curricu-lum review is an oppor-tunity to create a newdynamic which willallow this to happen.

DU

Moira Fraser Steele,Director of Education& Research, TheDesign Council

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II

Developing the Curriculum

Introduction

Education consists of three related areas: curriculum what is to belearnt; pedagogy how it is to be taught and assessment howprogress and attainment are judged. Our arguments have implications forall three. In Chapter Three we suggested that effective approaches tocreative and cultural education need to be based on three principles ofbalance: a balance in the curriculum between different fields of creativeand cultural education, a balance within the teaching of all disciplinesbetween tradition and innovation and a balance between the teaching ofdifferent cultural values and traditions. In this chapter we look at theimplications of our arguments for the structure and balance of the schoolcurriculum. We make proposals for the development of the NationalCurriculum for 2000. We also propose a more fundamental review after2000 to take account of the principles of provision we have identified.

The School Curriculum

The 1988 Education Reform Act defined the curriculum at three levels.

a. The National Curriculum

b. The Basic Curriculum:the National Curriculum plus Religious Education.

c. The Whole Curriculum:the Basic Curriculum and any other provision the school chooses tomake.

The National Curriculum

The Government is committed to planning an education service that willmeet the challenges of the twenty-first century. The centrepiece of theschool system is the National Curriculum and this will drive or restrain thedevelopments we are proposing. The National Curriculum has broughtmany benefits. Teachers have welcomed a national framework for contentand attainment targets. There is more consistent provision within andbetween schools. Ten years on from the 1988 Act, few would argueagainst the principle of a National Curriculum. Nevertheless, there aresignificant problems in the current National Curriculum in relation tocreative and cultural education.

Although the National Curriculum is not the whole curriculum, it is the mostsignificant part of it. It represents the national priorities for learning and

assessment. It is the framework for school inspection, accountability andquality assurance; and it is the basis of the National Standards for Initial

Teacher Training. The current review of the National Curriculum is not

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intended to be comprehensive or radical. We understand the reasons forthis. A radical change to the current structure will need to be fully evaluatedand undertaken over a proper timescale. However, we do believe that such aradical review is necessary over time and the present limited review shouldbe seen as the beginning of a longer-term managed process of change.

Our consultations have suggested that the opportunities to promotecreative and cultural education in schools are being increasingly restrictedby the cumulative effects of successive changes in structure, organisationand assessment since the introduction of the National Curriculum. It isdifficult to gather hard evidence of this. The QCA does not haveconclusive evidence either way and neither does OFSTED. It would behelpful to the Government and to many others to have a clearer sense ofexisting provision in this field and also of the impact of specific policyinitiatives on other areas of the curriculum; for example, the effects on thebroader curriculum of the literacy and numeracy strategies. In the absenceof counter-evidence, we think that it is reasonable to listen to the views ofthe many schools and head teachers who responded to our enquiries. Theconsistent message was that provision for the arts and humanities inparticular and for creative approaches in other areas of the curriculum,including science, have been eroded over recent years.

If the school system is to develop young people's creative abilities, stepsmust be taken to create the conditions in which this can be done. TheGovernment can help to address this situation in two ways. The first is tomake explicit provision for creative and cultural education in policystatements and priorities for the future development of the schoolcurriculum. This would send an important signal to schools that the broadercurriculum matters. The second would be to reduce existing levels ofprescription, to allow schools greater flexibility in devising appropriateprogrammes of work. This calls for action in five areas of the NationalCurriculum: rationale, structure, hierarchy, development and prescription.

Rationale

The QCA consultation on the aims and priorities of the National Curriculumidentified a widespread view that the revised National Curriculum shouldbe based on a clear rationale. We strongly support this view. The 1988Education Reform Act requires schools to provide a curriculum which:

O is balanced and broadly based;

o promotes the spiritual, moral, cultural, mental and physicaldevelopment of pupils at school and of society;

o prepares young people for the opportunities, responsibilities andexperiences of adult and working life.

The Act did not explain what preparation for adult life meant at the end ofthe twentieth century, nor how these objectives were met by the tensubject structure which it introduced. The content of the National

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Undoubted improve-ments in arts provisionhave been broughtabout by the NationalCurriculum. But theynow run the risk ofbeing lost.

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Professor Eric Bolton

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BBChildren learn bestthrough a broad basedcurriculum. I have wel-comed the NationalCurriculum especiallysince the DearingReview with leveldescriptions. I think it isstill far too prescriptiveand overloaded. A lot ofthe creativity of theteacher is taken awaybecause of this. Theemphasis should be

more on the skills andprocesses of the sub-ject and the creativeteacher can decide thecontent. The

Government has totrust teachers, espe-cially having the OFST-ED inspection processand Statement ofAttainment Tests at theend of Key Stages tomonitor that schools dotheir job.

Carol Traynor

DD

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Curriculum was developed by ten subject working groups, each of whichset out its own aims and objectives. For the last ten years the NationalCurriculum has been revised and reviewed without any further discussionor agreement on its basic rationale.

One of the original requirements of the Act was that schools shouldprovide a curriculum that is broad and balanced. However, it is widelyaccepted that the National Curriculum has been too congested. Since1988 there has been a succession of measures to thin it out. For reasonswe come to, we welcome attempts to reduce the amount of detailedprescription in the National Curriculum and suggest that these shouldcontinue. But the effect of the measures taken so far has been principallyto reduce the requirements for the foundation subjects. The result hasbeen to reduce the breadth and to tilt the balance of the NationalCurriculum. If schools are to meet the challenges they face, and topromote young people's creative and cultural development, both trendsmust be reversed. The starting point is a clear and agreed rationale.

The 1988 Education Reform Act drew from the proposals of BetterSchools (DfEE 1985). That White Paper set out a list of purposes ofeducation in schools which we commend as a basis for the rationale ofthe revised National Curriculum. They are to help pupils:

O to develop lively, inquiring minds, the ability to question and arguerationally, and to apply themselves to tasks and physical skills;

O to acquire understanding, knowledge and skills relevant to adult lifeand employment in a fast-changing world;

0 to use language and numbers effectively;

O to develop personal moral values, respect for religious values, andtolerance of other races, religions and ways of life;

O to understand the world in which they live, and the interdependenceof individuals, groups and nations;

O to appreciate human achievements and aspirations.

In our view, this list of objectives can only be realised through forms ofteaching and learning that promote the creative abilities and culturalunderstanding of young people in the way we have described. In allevents, the new rationale must make explicit reference to the importance

f7

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of creative and cultural education and help to create the conditions inwhich it can be realised in practice.

Structure

The National Curriculum in England is divided into three core subjects;English, mathematics, science; and seven foundation subjectstechnology (information technology and design and technology), history,geography, art, music, physical education and modern foreign languages.An obvious but important problem in this approach is that there are morethan ten subjects in the world. In a ten subject structure, some subjectsof the National Curriculum had to be included in others: for example,drama in English and dance within physical education. Beyond education,dance is not normally grouped with sport, games and athletics; drama isnot only a verbal art form. In terms of the knowledge and skills theypromote, both disciplines have as strong a claim on separate status asother National Curriculum subjects.

There are many other ways of conceiving and organising curriculumcontent. The QCA/NFER INCA archive contains information on curriculumframeworks of different countries. In terms of the primary schoolcurriculum, out of fifteen countries studied, seven countries describe thecurriculum in terms of key or essential areas of learning: Australia, Hungary,The Netherlands, New Zealand, Singapore, Spain and the USA. Sevencountries group their subjects together: Canada, France, Germany, Japan,Korea, The Netherlands and Sweden. Three countries teach their curricula inmultidisciplinary or interdisciplinary ways: Italy, The Netherlands andSingapore. All the other countries studied define their curricula in terms ofareas of learning or subject groupings. England is the only country in thearchive, which defines its curriculum in terms of ten discrete subjects fromKey Stage 1-4. The risk in this approach is in assuming that these subjects

are categorically different in all respects. There is considerable overlapbetween different fields of knowledge. There are continuities in the natureof the creative processes and, often, in subject matter.

The Need for a New Balance

In Chapter Three we argued for three principles of balance in education.The first is the need for balance between different areas of education. Inproviding the education that young people now need, we see equallyimportant roles for English, mathematics, sciences, the arts, thehumanities, technological education and for physical education, andfundamental reasons for treating them equally in schools.

Literacy and numeracy are the gateways to learning in many otherdisciplines, and essential skills for social and economic independence.Standards need to be as high as possible, and the national literacy andnumeracy strategies have important roles in achieving this. English andmathematics also include more than basic literacy and numeracy. Fromthe beginning of primary school, English should include the teaching ofliterature, and the expressive and social skills of speaking and listening.

aDeveloping the CtirAculum NACCCE Report

asArt is not a diversion or

a side issue. It is themost educational ofhuman activities and aplace in which thenature of morality canbe seen.

Dame Iris Murdoch

DD

aQIt is nonsense to saythere are only 10 sub-jects. By saying this weimmediately exclude 90per cent of the HigherEducation experience.

UU

Professor TimBrighouse, ChiefEducation Officer,Birmingham CityCouncil

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We will need to do bet-ter than we have donein recent years to con-vey the excitement ofscience, to use it tohelp young peopledevelop a sense ofwonder about theworld, and encouragethem to see its rele-

vance to their lives andhow it involves moralissues on which they,as citizens in a democ-racy, ought to haveviews.

Dr. Nick Tate, ChiefExecutive, QCA

DD

Once the fundamentals of numeracy have been grasped, mathematicsevolves into rich fields of abstraction and calculation and the conceptuallanguages of science and technology. In these ways, both English andmathematics overlap with our concerns for creative and cultural education.

Science comprises three related areas: first, the store of existing scientificknowledge; second, the methods and processes of scientific discoveryand inquiry; and third, how this knowledge is applied, and in particular therelations of science and technology. Science education has key roles inthe creative and cultural development of young people. First, to provide anessential grounding in gathering and respecting evidence and inintellectual skills of analysis. Second, to provide access to the rich store ofexisting scientific understanding of the processes of nature and the lawsthat govern them. Third, to provide essential opportunities for practical andtheoretical inquiry by which received knowledge can be verified,challenged or extended. Fourth, in each of these ways, science educationcan and must promote higher standards of scientific literacy. By this wemean an understanding of how science has shaped the modern world; ofthe concepts, ideas and achievements that have driven these changes,and of their significance and limitations. A population that is uneducated inscience will simply be unable in future to deal intelligently and responsiblywith its proposals and consequences.

Unfortunately, traditional methods of education appear to be failing inspite of sterling efforts by our teachers. The sheer complexity ofscience and technology today, as well as the lure of alternative, oftensuperficially exciting, areas are some of the problems. Chemistry, thediscipline central to our socio-economic environment, is suffering asmuch, if not more, than others, and is a perfect example of the need forurgent measures to develop in collaboration with schools and teachers,better interactive, balanced and personally tailored approaches toeducation. The wonderful new 'experience' centres and sciencemuseums, which are blossoming across Europe, are providing animportant component in the solution to these problems. They workclosely with schools and science teachers, thereby ensuring thatmillions of young people are being given a real taste for science and theenthusiasm to learn more is being fostered. The prime purpose of thisEuropean project, which has been created by a consortium formed bythe museums, the chemical industry and the European Commission, isto help these centres and museums to provide the very bestexperience of science possible. It must be obvious to any intelligentperson from the plethora of serious problems facing the world todaythat our very survival in the 21st century will depend on a quantum leapin real understanding of science and technology by anyone in a positionof any responsibility. Only a crash programme in science education cannow help, and I am certain that the exciting 'Chemistry for Life'programme will play a major role in this crucial process.

Professor Sir Harold Kroto, Nobel prize-winning chemist


The humanities are those fields of academic study that are concernedwith understanding human culture. These include history, the study oflanguages, religious education and aspects of geography and socialstudies. The humanities have key roles in creative and cultural education.First, by broadening and deepening young people's understanding of theworld around them: its diversity, complexity and traditions. Second, byenlarging their knowledge of what they share with other human beingsincluding those removed in time and culture from themselves. Third, bydeveloping a critical awareness of the society and times in which they live.The humanities overlap in several ways with the sciences and the arts.What they have in common with the arts is a primary concern withunderstanding the human dimension of experience. They differ in themodes of knowledge they generate and in the forms of study they use.

Dancing the River ThamesDuring the autumn term, Green Candle Dance Company led a residencyin a Newham primary school. With the Year 6 class they started thedance work with creative improvisation about the River Thames. Whenthe children were questioned about their perceptions of the river, theywere mostly negative and focused on its pollution and foul smell!Through dance they were enabled to also consider its size, shape, flowand currents. The class teacher was keen to link the dance work toother areas of the curriculum topic 'Rivers', so she asked the children towrite poems about the Thames, which could be used in dance.Everyone involved was surprised and impressed by the content andrichness of descriptive language used. One of the poems was chosenas the stimulus for creating duets, which were performedsimultaneously by the whole class to the accompaniment of theirteacher speaking the poem. The children were proud to perform thisdance-poem, thus completing a creative cycle of dance, poem, danceand poem in a way that was satisfying to children and adults. This wasa clear example of the cross-fertilisation of ideas between artforms andthe way both forms, in this case poetry and dance, can be enhanced bythe process and, in addition, produce visible learning in other subjectssuch as English and Geography.

Information provided by Green Candle Dance Company

The arts are concerned with understanding, and expressing, the qualitiesof human experiences. Through music, dance, visual arts, drama and therest, we try to give form to the feelings and perceptions that move usmost as human beings: our experiences of love, grief, belonging, andisolation, and all the currents of feeling that constitute our experience ofourselves and of others. It is through the arts in all their forms that youngpeople experiment with and try to articulate their deepest feelings andtheir own sense of cultural identity and belonging. A balanced artseducation has essential roles in the creative and cultural development ofyoung people. First, the arts are essential to intellectual development. We

, 0),

Developing the Curriculum NACCCE Report 69

asThe arts are other waysof expressing and com-municating experi-ences, feelings and

ideas. Various materi-als, instruments, tools,techniques and skillsare used to expressand communicatethose feelings and

ideas in a creative form.In the creative arts weare training children tolook, see and know. Toobserve fine detail andto develop sensitivity,which remains withthem forever, can havea profound effect onthe way they view theworld and in somecases cause a changein attitude. The creativearts develop thinkingand problem-solvingstrategies in an enjoy-able way. This can

enhance all other areasof the curriculum.

UDCarol Traynor

aQTo communicatethrough the arts is toconvey an experienceto others in such a formthat the experience isactively recreatedactively lived throughby those to whom it isoffered.

Up

Raymond Williams

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argued in Chapter Two that intelligence is multifaceted. The arts illustratethis diversity and provide practical ways of promoting it in all children.Second, the arts provide the most natural processes for exploring andgiving form to personal feelings and emotions. The arts engage feelingsdirectly. There is a tendency to think of intellect and emotion as distinctand separate. In many important ways they are closely related. Work inthe arts is not about emotions in isolation from the intellect, but abouthow they connect. Third, the arts are among the most vivid expressions ofhuman culture. To understand other cultures and ways of seeing, we needto engage with their music, visual art, verbal and performing arts where inmany ways the pulse of culture beats most strongly.

There is a hesitancy in many of the primary schools to select areas ofwork from the Programmes of Study which reflect the pupils' culturalbackgrounds for example, music, famous artists, famous people inhistory. Indeed, half the primary schools take the view that respondingin this way to the ethnic and cultural diversity of their pupilpopulations is unhelpful and patronising to the groups concerned. YetNational Curriculum Programmes of Study in several subject areasrequire such a response and a few schools have seized theseopportunities to good effect.

Information from Ofsted 1999a

Physical education is central to the balanced education and developmentof all young people. First, physical education contributes directly to thephysical health of young people. It recognises that we are all embodiedbeings and that there are intimate relations between mental, emotionaland physical processes. Apart from its other benefits, there is nowevidence (Steinberg et al 1997) that physical education can also enhancecreative processes by quickening concentration and mental agility. Second,physical education and sport, by their very nature, are inextricably boundup in the cultural traditions and practices. For many people games andsport are defining cultural activities and evoke powerful feelings andvalues both in relation to the games themselves and through the sense ofcollective activity and belonging they can generate. Thirdly, the diversityand range of physical activity and sport provides young people with manyopportunities to experience different forms of physical achievement and

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creative expression. In dance and gymnastics there are powerfulexpressions of creativity and of aesthetic appreciation. In games there areimportant opportunities to develop individual and team skills and to sharesuccess and failure in a controlled and safe environment. In these waysparticularly, physical education has essential and equal roles with other keycurriculum areas in a balanced approach to creative and cultural education.

In Chapter One we emphasised the crucial importance of schoolsresponding to the challenges of rapid technological change, and some ofthe dangers of an uncritical approach. Young people are growing in acultural environment which is increasingly shaped by technology in generaland by information technology in particular. The Government has in hand anumber of far reaching initiatives to increase young people's access to andexpertise in information technology; including the National Grid forLearning, actions to install and connect IT equipment in all schools and amassive related programme of continuing professional development forteachers. ICT is at the leading edge of technological change: but it interactswith many other forms of technology, new and old. In 1988 the NationalCurriculum introduced a new subject, design and technology. This broughttogether elements of previous subjects and areas of teaching, includingcraft, art and design, technology and home economics. In the last tenyears, a good deal of progress has been made to consolidate this newcurriculum area and to explore its relations with the arts, and especiallyvisual art, and science, from both of which it draws ideas and techniques.

The heart of design and technology is conceiving and realising practicalproducts and solutions. It involves all the elements of creativity as wehave identified them. Design processes are integral to the ways in whichthe social culture is shaped and expressed: in industrial products, infashion, in the home, in leisure and in all other areas of daily life. Designand technology as a school discipline is also focused on developing inyoung people many of the conceptual and practical capabilities thatindustry and commerce now look to education to develop. For all thesereasons we see effective programmes of design technology as essentialto creative and cultural education.

In setting down our view of these different areas of the curriculum, weare not suggesting a timetable, nor that all subject areas should be taughtevery day to each child. We are describing an entitlement. We are all tooaware of the pressures of time and resources on schools, on localauthorities and on national government. Balancing the curriculum equationis complex and difficult . It involves clear national policies and guidelinescoupled with expert implementation in schools. The review of the NationalCurriculum provides a crucial opportunity to look at both the principles andthe practicalities of this provision. Our concern is to suggest guidelinesand ground rules emerging from our analysis of the importance of creativeand cultural education in meeting the national agenda for education, and tocounter the imbalance we see occurring incrementally in current provision.In the rest of this chapter we suggest the principles that follow and someof the ways in which they might be implemented.


BBIt has become clear tous how powerful is thecontribution of the artsto a whole range ofskills and attitudes thatare vital to learningright across the curricu-lum, and indeed toemployability.

DD

Dr. Nicholas Tate,

Chief Executive, OCA

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Making Connections

The essence of creativity is in making new connections. Thesepossibilities can be frustrated by rigid divisions in subject teaching whichthe current pressures tend to encourage. Outside schools, some of themost dynamic developments are the result of the interaction ofdisciplines. For example, the growth in multimedia technologies is beingdriven by the relationships between the arts, sciences and technology.

Cress-canrricasiar TeachingStoke Newington School (SNS) is a co-educational comprehensiveschool in the London Borough of Hackney. The school is committed to abroad and balanced curriculum. All students follow an arts subject at KeyStage 4. The examination results are good and the school has developeda reputation for the performing arts as an area of excellence. The artsare an essential part of every student's educational experience, whichenhances every aspect of the curriculum, through the development ofskills, self-esteem and motivation. Almost all subjects have their ownartistic, design, aesthetic and critical aspect. PSHCE can build upon thepromotion of physical activity and healthy lifestyle begun in Dance.Drama role-play is also a teaching method relevant to PSHCE as well asmany other subjects. The science National Curriculum specificallymentions music in the teaching of sound. Aesthetic and designprinciples from visual art are intrinsic to the fundamental aspects oftechnology. Empathy and cultural education in the humanities is greatlyinformed by the arts. The arts subjects can enhance levels of literacy inthe students at SNS in a variety of unique and exciting ways. Discussionskills and the development of oral literacy, often stimulated by visualimages, body language, sound, etc. play an important role within thecurriculum. Independent research, critical analysis and enquiry play afundamental role within the arts disciplines. Independent thought andaction, alongside the development of team and group work leads to oralnegotiation and discussion in the arts. Careers guidance in theperforming and visual arts gives weight and credence to a varied rangeof modes of employment in the expanding arts and leisure industries.

Information provided by Stoke Newington School

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Conventionally, young people have had to choose at the age of 15 or 16whether to follow arts or science courses in school. The division betweenthe arts and the sciences has its origins in the intellectual revolutions inthe seventeenth century and in the industrial and technological revolutionsthat followed in the eighteenth and nineteenth centuries. TheEnlightenment emphasised the pre-eminence of deductive reasoning andpropositional knowledge and the need to minimise the influences offeelings and emotions on rational thought. The Romantic movement in artand literature of the eighteenth and nineteenth centuries reacted byemphasising the necessity of feeling, intuition and individuality and thedangers of scientific detachment. These resulting dichotomies betweenarts and sciences have deeply affected our systems of education andhelped to forge popular stereotypes of artists and scientists.

Artists and scientists are not necessarily separate beings. Many scientistshave deep interests in the arts: a growing number of artists are engaged inscience. Any individual may be both artist and scientist according to theirinterests and activities at a given time. There is a good deal of science in artand in the humanities as there is art in science. The difference between thearts and sciences is not one of subject matter: a work of art can be aboutanything that interests an artist, just as science can concern anything thatinterests a scientist. The difference is in the kinds of understanding they arepursuing: in the questions they ask, the kinds of answers they seek and inhow they are expressed. An important common factor is aestheticappreciation. In aesthetic awareness we respond to the sensory or formalqualities of an experience: to such qualities as harmony, tone, line,symmetry and colour. A feel for aesthetics can be a driving force in creativeprocesses in any field including scientific research. Scientists typically speakof the beauty of ideas and experiments, of the elegance of a theory orproof. In mathematics, aesthetics can be an important test of validity.

Primitive StreakBetween fertilisation and the appearance of the recognisable human form, a

single cell (the fertilised egg) divides many times to produce millions of cells.

Unchecked cell proliferation leads to cancer, but the regulation of cell

production and differentiation during embryonic development ensures that

the right kind of cells form in the right place at the right time. Exactly how

this happens is one of the most important questions in biology today. In

developing the Primitive Streak project, the fashion designer Prof. Helen

Storey and the developmental biologist Dr. Kate Storey worked together as

artist and scientist in producing a fashion collection chronicling the first 1000

hours of human embryonic life. Their work challenged the commonly held

belief that science and art are unable to communicate with each other. The

exhibition was attended by many school groups. Helen Storey emphasised

that: "perhaps most notable is the diversity of people it has touched; young

and old (aged 7-70), the academic and the ignorant, those with a love of the

arts, those with a life dedicated to science and almost anyone in between.

The work, now on an international tour, has opened doors towards

education; it is being used as a model project for both primary and

secondary school students and fashion and science graduates alike."

Developing the Curfi?Aum NACCCE Report 73

There are important continuities and differences of this sort betweendisciplines. These provide one basis for arguing for a new balance in thecurriculum. But the need for balance is also based on the growinginteraction between various disciplines and fields. School science, forexample, has been traditionally divided into physics, chemistry andbiology. As scientific knowledge continues to grow, these categories haveblurred and new disciplines have emerged: for example, bio-chemistry andbio-physics. On the way, previously clear distinctions between pure andapplied science have begun to dissolve. New theoretical insights nowinteract almost immediately with possible applications and feed intoapplied research. These are accelerating most obviously in bio-geneticsand in the cognitive sciences: in studies into the brain and the physicalcorrelations of consciousness and psychological states. Another importantexample is the overlap between the social sciences and the arts andhumanities. There is an increasing use in the social sciences of qualitativeresearch to complement statistical evidence with more descriptive formsof inquiry. Some social researchers make use of narrative techniques indeveloping and presenting their findings. In these and other ways thesocial sciences are drawing on techniques in the arts and humanities.

Lig.eracy, Science and TechnologySTARburst is a completely new tool for primary school teachers. It helpsdevelop literacy by using stories and poems for the teaching of Scienceand Technology. The aim is to help children develop an imaginative and

inquiring response to stories and poems, to enable them to use scientificconcepts and technical language and most important to allow themto gain confidence in their understanding of the natural and designedworld. STARburst, is based on a partnership between the Design Council,Esso, the Royal Society of Chemistry and the Institute of Physics.

Information supplied by the Design Council

Hierarchy

In the existing National Curriculum there is an explicit hierarchy ofsubjects. From the outset, the foundation subjects were by definition oflower status than the core subjects. In the revisions to the NationalCurriculum since 1988, the requirements for the arts and humanities havebeen progressively reduced. Since the National Curriculum is also aframework for managing resources, there have been implications for thewhole pattern of related funding. The message to schools is that they areless important than the core subjects. A longitudinal study (Pollard et al,1994) on the effects of the introduction of the National Curriculumindicates that primary schools have reduced the provision for art, whileincreasing time for science and technology. Heads and teachers involvedin the study expressed concerns about the impact of the NationalCurriculum on creative activities for young children. These concerns havecome through clearly in our own consultations.

7574 Developing the Curricuium NACCCE Report

The real effect of the existing distinction between the core and foundationsubjects now needs to be carefully assessed in the light of ten years'experience. It appears to have reduced the status of the arts andhumanities and their effective impact in the school curriculum. Moreoverthere is no clear evidence that the current distinction between core andfoundation subjects has increased the number and quality of our youngscience students or the level of scientific awareness of the generalpopulation. We accept the case for a priority to be given to the teaching ofliteracy and numeracy in the primary school. Beyond that, it is not clearthat the present distinction between core and foundation subjects, and theimplications which have followed for the allocation of time and otherresources, have benefited the teaching of science nor of the foundationsubjects in the arts and humanities.

The majority of children learn the basics of literacy and numeracy by theend of primary education. A significant minority of children do needadditional help with literacy and numeracy beyond this stage, but theneeds of the few should not shape the curriculum for everybody. Allpupils should study English and mathematics throughout secondaryschool. This should not mean that English and mathematics are set apartfrom the rest of the curriculum, nor that their roles in the wholecurriculum should be dominated by the need to establish basic skills inthe primary school.

We have emphasised the necessity of science education as one of thekey learning areas for all children. Within the case we have presented forcreative and cultural education, we see no basis for distinguishing in valuebetween sciences, arts, humanities, technological education and physicaleducation. Education in each of these has fundamental roles in meetingthe challenges we have identified. In our view, the curriculum should berestructured to raise the esteem of the non-sciences and promote culturalparity between them. This restructuring should include reconsidering thepresent distinctions between core and foundation subjects in the NationalCurriculum. Science education has vital roles in meeting the challenges of

the future. But it will not fulfil them in isolation.

The economy needs scientists and technologists with a broadunderstanding of cultural and social processes, and lawyers, civil servantsand others with a good understanding of science. This argues for other keyareas of the curriculum to be given equal status with science. A certainlevel of basic understanding of scientific method is properly part of basicnumeracy. Indeed the word 'numeracy' was coined by a British Educational

Committee in 1959 to include 'some understanding of scientific method'(Ministry of Education 1959). This basic understanding provides the samebuilding blocks for creative work in science as learning to read and writedoes for creative work in the arts and in the humanities. There is no logicalnor practical reason for not treating more in-depth study of the creative andcultural aspects of science as being precisely equivalent to similar tasks ofcreative and cultural study in the arts and humanities.


asThere are differentroutes of entry intoeach child's mind. It isamazing how much canbe taught when subjectboundaries are takenaway.

Professor HelenStorey

DD

B4O

Creativity is not only anoutcome of a good edu-cation, but a means ofachieving a good edu-cation.

Professor MichaelBarber, Standardsand EffectivenessUnit, DfEE

DD

,an

Science is continuallybringing forth newtechnologies... but sci-ence also brings forthnew thinking.

DU


75

DDThe core and founda-tion distinction is wrong

you either have

areas that you value ornot.

DU

Lindsey Wharmby,Teacher, LawnswoodSchool

1M3

There are two arguments against removing the distinction between coreand foundation subjects. First, that it would disadvantage scienceteaching. We see three questions here. First, would fewer pupils takescience in Key Stages 1-4? We think not, since science would continue tobe compulsory. Second, would it lead to less time for science in theNational Curriculum? This is a possibility, but the opportunities remain forindividual schools to develop additional science programmes within thewhole curriculum. Third, would it lead to lower standards in scienceeducation? There is no reason to suppose this. For reasons we developlater, there would be opportunities for greater specialisation in sciencecourses in Key Stage 4. Clearly any change must ensure that the nextgeneration is adequately equipped to survive in a twenty-first century thatwill be even more dominated by science and technology than the present.Our primary concern is a culturally and creatively balanced curriculumwhich actively promotes synergistic interaction between science andtechnology on the one hand and the arts and humanities on the other.

The second argument is that there is no need to change because underthe present arrangements individual schools are free, if they want to, toincrease provision for the arts and humanities. This is not the point. Oneof the purposes of a National Curriculum is to identify core values andpriorities in state education. The existing orders for the NationalCurriculum do allow schools to promote and maintain the non-coresubjects. But in the view of many of those we have consulted, the generalethos of policy militates against this. Implicitly and explicitly, the messageof the current National Curriculum is that the arts and humanities arelower priority. This message conflicts with the purposes that the NationalCurriculum is intended to promote. Either the aims or the structure of theNational Curriculum should be changed so that the present contradictioncan be resolved. If a balanced education is important, the message shouldbe clear, and the provision consistent.

Development

The original conception of Key Stages was to mark points of assessmentbetween children of the same age, ie. at seven, eleven, fourteen andsixteen. In practice they have come to refer the periods between them: ie.as key phases. The implication is that they correspond to phases in thedevelopment of children. If this is the purpose of Key Stages, there is acase for reviewing them.

Early Years

There is a strong case for a more developed provision for creative andcultural education in early years education. Studies into the developmentof the brain suggest that the new-born and infant child have enormouslatent capacities. The extent to which these are encouraged in the firstyears of life has a crucial bearing on the development of the brain itself.Children brought up in bilingual or multilingual households, for example,


94@

will normally become competent in all the languages they use. Childrenbrought up in monolingual households normally master that language only.This is not a matter of capacity but of exposure. If these capacities are notexercised, the neurological patterning, the hard wiring of the brain, isallocated to other purposes. The same applies in other areas ofdevelopment, including, for example, music. Children who are involved inmusic making from an early age establish musical competencies, whichprovide an invaluable foundation for subsequent development. If these ,capacities are not used, they are put to other uses. Teenagers and adultsoften have greater difficulty than young children do in learning aninstrument, or a second language. Because early development provides afoundation for all subsequent learning, opportunities lost in the first yearsof life are difficult, if not impossible, to regain. Consequently the nature ofearly years education is as important as the fact of it. In our terms, it isparticularly important in the early years to encourage imaginative play anddiscovery learning as essential processes of intellectual, social andemotional development.

Key Stage 1 and 2

In January 1998, the Secretary of State for Education and Employmentannounced that for two years schools would not be required to teach thefull National Curriculum in the foundation subjects. This announcementwas intended to ease the pressure on schools and allow them toconcentrate on raising standards in literacy and numeracy. We accept theneed for a sustained strategy for literacy and numeracy, but it is vital thatthis emphasis in Key Stages 1 and 2 should not marginalise other areas ofintellectual and personal development, which are equally important in theearly years and during primary school. There is some evidence that this ishappening. A questionnaire survey carried out by the Times EducationalSupplement following the Secretary of State's announcement, found thatabout a fifth of the head teachers questioned intended to reduce time formusic in the school year 1998-99. National orchestras report that theyhave received virtually no requests from primary schools to participate ineducational projects this year. In our view, the requirement to teach thearts and humanities on an equal basis with the existing 'core' curriculummust be reinstated.

Doing so will have benefits for all areas of young people's achievement.For example, there is evidence that literacy and numeracy are bestpromoted through a broad and balanced curriculum, which includes, ratherthan excludes, the arts and humanities. Forty of the most disadvantagedprimary schools with the best results in literacy were recently studied byOFSTED. The common factor was that they had strong arts programmes'.HMI said: 'There is a positive correlation between goodprovision/performance in the arts in schools and higher standards ofperformance in literacy and numeracy according to OFSTED inspectionstatistics2.' OFSTED data on pupil response to learning indicates drama tobe at the very top in motivating learning3. Such data underlines the valueof a broad and balanced curriculum that incorporates opportunities for

Developing the Curric§urn NACCCE Report

asMusic has played a big

part in my life and I

want youngsters tohave access to theenormous benefits it

can bring. Learning aninstrument, singing, orsimply enjoying themusic of others, canhelp develop theawareness of the spiri-tual dimension of life.

So I want all children tohave the opportunity tobe enthused by therange of musical experi-ences which should beavailable to us all.

DD

David Blunkett MeSecretary of State forEducation andEmployment

aQI want to emphasisethis Government'sbelief that the arts playa vitally important partin our education sys-tem... time spent onthe arts is not peripher-al, it is absolutely fun-damental to all that weare trying to achieve.

DU

Rt. Hon Chris SmithMP Secretary of Statefor Culture, Mediaand Sport

77

949

pupils to learn within and through arts subjects, and within and throughfocused creative and cultural contexts.

A trod and l danced CurriculumCreative and cultural education is widely embraced by Cheshire schoolsand by the LEA. It is seen as a vital ingredient in the formula that hasproduced, across the County as a whole, high standards ofachievement and attainment. The contribution to addressing under-achievement is equally important. Different teaching and learning stylesare often required to unlock barriers to greater success, and goodteaching in the arts has much to contribute. For example, in seeking toaddress under-performance in key skills: can pre-school and Key Stage1 pupils' enjoyment of simple counting songs, and other music anddance dimensions such as time, space and rhythm, help provideframeworks for raising numeracy standards? Does boys' interest ingraphic art provide a window for greater interest in improving writingand reading? Can the spoken intonations of dramatic speech or thephrasing of song lyrics help improve the understanding and applicationof punctuation? Understanding how learning works, including forinstance multiple intelligence concepts, is an important theme ofcurrent joint work between Cheshire's headteachers and the LEA.Aimed at further raising standards of teaching and learning across thecurrent curriculum and in anticipation of Curriculum 2000 and beyond,there is a strong belief that the processes, activities and subject contentof good creative and cultural education is highly effective.

Information provided by Cheshire LEA

The literacy hour is a new departure in that it sets out in detail the contentand suggested methods of teaching for schools. The National LiteracyStrategy Framework sets out objectives for each term in each year of primaryeducation; at the levels of the word, the sentence and the text. The majorityof the text-level objectives refer to the reading and writing of fiction and

poetry: teachers are encouraged to work with their pupils to develop a critical

awareness of the techniques writers use and the effects these have on thereader. Many of the teaching objectives, particularly at the upper end of KeyStage 2, demand a high level of both textual analysis and creative writing.The Framework for Teaching (DfEE 1998a) also specifies the range of textswhich should be used and expects that challenging texts will be explored.

7 978 Developing the Curriculum NACCCE Report

avrias tag. SingOver the 1998 Summer term, Children's Music Workshop ran a pilot fora three-year project to explore ways of using creative class music toenhance Key Stage 2 children's understanding of the use of language.The pilot, in three Tower Hamlets primary schools, combinedcomposition, songwriting, storytelling and performance, and encouragedteachers to link the work with the literacy programme. Two of theschools have a 99.9 per cent Bengali intake and the third school has an80 per cent Bengali intake. The children in each of the schools werealert, attentive, and highly motivated by the project. All of themparticipated, often to the surprise of their teachers, throwing themselvesinto the work with real enthusiasm. The pilot began with a workshop forthe class teachers, to give a taste of the work that would be done by thechildren. This was followed by eight weekly sessions with each class,culminating in a performance by each class to the rest of the school. Tostimulate the children's imaginations, the projects focused on wishes, adrawing, a 'magic' hat and mat. The children worked in small groups tocreate poems, verses and stories which they developed into whole-classsongs and instrumental pieces. There were considerable differencesbetween the schools and the teachers in terms of their experience andattitude to music, although all of them embraced the project with energyand enthusiasm. The pilot was considered by the teachers,headteachers and musicians to have been very successful. All theteachers want to continue to be involved, the children are hugelyenthusiastic, and the musicians found it exciting and stimulating.

Information supplied by Children's Music Workshop

Some schools complain that the literacy hour has a dominating effect onthe school day and is squeezing even further the opportunities for creativeand cultural education. There are numbers of teachers who are uneasyabout what they see as an imposition of teaching methods and theconsequent reduction in their own freedom and professionalism. Theextent of these concerns and their impact will need to be monitored bothlocally and nationally. But there are schools and teachers who have usedthe literacy hour as a starting point for a wide range of creative activities inreading, writing, drama and in the other arts. We see great value inintegrating the objectives of high standards of literacy with those of highstandards of creative achievement and cultural experience. Similaropportunities may be generated for science and technology by theintroduction of the numeracy hour. To ensure this it would be of value tomany schools to have access to materials, ideas and strategies in theimaginative implementation of these strategies.


Meeting the Myth-makersAs part of their work in the Literacy Hour, a year 5 class explored thefeatures of myths to inform planning for writing their own stories. Theyhad become aware that most myths existed as oral retellings longbefore they were written down. This insight led their teacher to plan a'storytelling workshop' as part of their literacy work in which theyexperimented with the skills of the oral storyteller, gaining immediatefeedback from their peers about the effects of their narrative structureand language. They developed related work in dance, drama and musicto create the 'meeting of the myth-makers' at which the 'makers'decide which myths can and cannot be told. Their discussion involvedserious thought on why war, disease and suffering exist in the world:the children had a clear idea that myths are 'big stories' which seek toexplain and do not relate to the mundane or trivial. Their subsequentwritten work was of a very high standard. They paid close and carefulattention not only to the overall structure of their work, but to thechoice of language appropriate to this kind of story. Rigorous teachingof literacy and genuine creativity can be mutually supportive: goodliterature at the heart of the primary curriculum provides an essentialbasis for both.

Information provided by Miles Tandy, Warwickshire Advisory Services

Key Stage 3

There is evidence from OFSTED and QCA that many students becomebored, disaffected and disruptive during this period. With a three-yearprogramme and a fairly low-key external assessment, which covers onlyEnglish, mathematics and science, the pace of teaching and the students'sense of urgency have been further diminished. According to OFSTED, thegeneral quality of teaching observed at Key Stage 3 is lower than at KeyStage 4. When students arrive in secondary school, they are excited athaving specialist teachers. This diminishes over the next three years.Schools using base-line testing and CATS data linked to internalexamination are aware of significant numbers under-achieving by year 8,only one year into their secondary education. By year 9, many students,boys in particular, have found the school curriculum boring andundemanding and an important minority has become disaffected, disruptiveand truanting. We see a particular case for revising the structure and lengthof Key Stage 3. External assessment at the end of two years instead ofthree would generate greater pace and accountability for students andteachers at this stage. This could increase motivation and achievement.


1)40

Face 2 FaceHampstead School has been involved in the development andintroduction of financial literacy and numeracy initiatives during 1997 and1998. Two projects from the NatWest Face 2 Face with Finance packagehave been completed. Both of the activities were targeted at Key Stage3 and 4 pupils and featured much role-play, creativity and the use anddevelopment of vocabulary. Pupils were invited in groups to simulatevarious roles, where they were either an adult or a young personplanning a bid to put on an event, eg. a celebratory dinner. Alternativelythey are someone who is lending or borrowing money. In the course ofthese activities a lot of basic numeracy is covered, but the opportunity tocreate bridges with other areas of the curriculum and gain fresh insightsthrough discussion and role play is very effective. They are looking toinclude some materials produced by Personal Finance and EducationGroup in our lessons this year and courses for the future.

David Monks, Head of Mathematics, Hampstead School

Key Stage 4

We are concerned too that children in Key Stage 4 are able to drop subjectssuch as arts and humanities, and then sacrifice breadth in favour ofspecialisation. There is a need to increase depth of study as young peopledevelop, but at present they specialise too much and too soon. More timeat Key Stage 4 would increase opportunities to consolidate basic skills; toprovide extension activities for gifted students; and to provide time forstudents' choices of study areas and more integrated work experience,without reducing breadth and balance. There would also be valuableopportunities to extend the base of creative activities. On this basis, webelieve that all seven curriculum areas we have discussed should beavailable to all pupils throughout key stages 1-4 as a matter of entitlement.


Via

Mar:imam Curriculum ChoiceOldbury Wells is an 11-18 mixed comprehensive school with 1025students on roll, having grown from 780 in the last four years. TheOFSTED inspection in Summer 1998, listed it as an 'outstanding'secondary school. The arts are amongst the strengths whichcontributed to that verdict. At Key Stage 3, there is a strong programmein art painting, pottery, drawing, and so on. The Performing Artsprogramme combines dance, drama and music. All the relevantsubjects flourish at Key Stage 4, GCSE and A-level, where students canobtain a second GCSE in Performing Arts. At Key Stage 4, all traditional'optional subjects' have been under threat since the National Curriculumprescribed a large compulsory core. Many schools now can run onlytwo free options. Their students have only two genuine choices from awide range of subjects, including the arts and the humanities. In suchschools, the arts are bound to suffer, particularly at GCSE. OldburyWells, has sailed close to the wind in interpreting the legislation topreserve the maximum choice for 14-year olds. Revision of the KeyStage 4 curriculum, to make it easier for schools to preserve a widechoice, is urgent. There are considerable extra-curricular opportunitieswithin the arts. At the time of writing, a party of students from Years11, 12 and 13 is returning from a week's art study tour to Barcelona:previous trips in the last three years have been to Florence and Paris.Aside from the major drama production, which this term has been'Blood Brothers', the school has a long tradition of substantial danceproductions, which have involved large numbers of boys and girls ofevery age group. Lunchtime activities include two choirs and a range ofdance clubs. The quality of staff has been a major factor in the successof the arts. Governor support has also been vital.

Information supplied by Oldbury Wells School

Prescription

In her analysis of over 1,000 lessons, Montgomery (1999) found that 70per cent of periods was taken up by the teacher talking, while only 1 percent involved cognitive challenges where pupils worked things out forthemselves. She believes that this is partly the fault of an overloadedcurriculum which leaves little time for creative thought. During the last tenyears there have been repeated efforts to thin it out, but the pressures ofover-prescription remain. These problems are greatest in primary schools.Consequently, many primary schools welcomed the Secretary of State forEducation and Employment's announcement, relaxing the full requirementsof the National Curriculum, partly, we suspect, from a sense of relief.

We welcome the Government's commitment to reduce the content of theNational Curriculum and to allow schools more flexibility and freedom. Butmany schools are also worried about the impact on the breadth and

'4 0'1balance of the curriculum, and particularly on the status of the foundationsubjects. The problem as we see it is that in practice the relaxation has

83


14?

been in the interest of concentrating on the core subjects, rather thanpromoting increased flexibility across the whole curriculum. Our argumentfor greater flexibility is not to reduce provision in arts and humanities, butto allow more freedom for them to flourish on an equal footing with theexisting core subjects. Greater flexibility is important to allow schoolsmore freedom to innovate within the requirements of the NationalCurriculum, but it will be counter-productive if it is seen as anencouragement to drop or neglect vital areas of children's education.

The national requirement of a public education system is that there should be:

an agreed rationale and targets for the performance of schools;

a systematic framework for comparing standards of achievementbetween pupils;

o a systematic framework of inspection which supports schools inmeeting targets and which ensures that they are accountable indoing so.

Since 1988, there has been a transformation in the culture of education inschools. The principal instruments of change have been the NationalCurriculum; delegated budgets and local management of schools; thenational framework for school inspection; the publication of school leaguetables; and the introduction of national standards in initial teacher training.The original engine of change was the introduction of the NationalCurriculum. It was through this that the involvement of Government insetting and monitoring standards in other ways became accepted. Duringthe past ten years these other measures have become firmly established.We think it essential now to ease the pressure of the prescribedcurriculum to allow schools more flexibility in devising their ownprogrammes of work.

There would be four benefits from this change in relation to creative andcultural education.

a. It would raise the morale of teachers by affirming confidence in theirprofessional competence.

b. It would allow more time and opportunity for schools to developimaginative forms of teaching and learning.

c. It would allow schools greater flexibility in developing programmeswhich meet the needs of their own pupils and which take account ofthe local and regional circumstances in which they work.

d. It would allow all schools to develop their own particular strengthsand profiles within any given area of the statutory curriculum:sciences, arts, humanities, physical education or technology.

64Developing the Curriculum NACCCE Report

aQ

The more prescriptive acurriculum, the greaterthe need to be explicitabout creativity and notleave it to chance.

DU

Design Council

aQWe are throwing out thebaby with the bathwaterin this country if, in an

attempt to have a stan-dardised and demanding

curriculum, we leave noroom for teachers toexercise a little judge-

ment and imagination inan excursion of the acad-

emic piste. If they are so

focused on a fixed cur-riculum, so rigid thatthere is no time, literally,

for anything as important

as the human mind, then

we are ,in for a very sorry

future society. It could

also be argued that theteachers themselveswould benefit from abroader view. Surely ateacher who has become

excited, and learnt a new

angle on a subject, willimport renewed enthusi-asm and vigour back tothe class.

DU


83

9g1

The revised National Curriculum should be based on six principles:

O Breadth

The National Curriculum for each pupil should be broad as a wholeand in its various parts.

O Balance

Each area of the curriculum should have the time and resources toenable it to make its specific contribution, but should not squeezeout other essential areas. This balance need not be the samethroughout the 5 to 16 years age range.

o Relevance

The programmes of study should be clearly related to the individualpupil's current needs, to the requirements of the next phase ofeducation and to the health and wealth of the nation.

ParityThere should be parity of esteem between the different componentsof the National Curriculum. While, at different stages of a pupil'sdevelopment, some components might be more important thanothers, it should not be necessary for any area to be dropped fromthe curriculum or become optional for individuals or groups of pupils.

o EntitlementAll children are entitled to an education in schools, which addressesfully and appropriately the declarations of the National Curriculum.This entitlement should not be contingent on geographical or socialfactors.

O AccessAll children should have access to the experiences, people andresources necessary to realise their potential in education.

There is no one best way of planning the curriculum or organisingtimetables. There are many examples of innovative curriculum modelsand of timetables that promote creative and cultural education. Schoolsof many different kinds, in very different circumstances have foundtheir own solution. Often what works in one school does not directlytransfer to another. But the principles of provision may have widerapplication. The QCA should promote good practice and disseminate awide range of approaches and models for schools to draw on inplanning their own curriculum.

Redefining the School Day

Schools of the future will have to provide for the curriculum in verydifferent ways. There is considerable evidence that the present day andterm structures adopted by most schools in the maintained sector do not

85


1)§13

11M

support sustained learning and quality teaching. Nor do they ensureachievement for important groups such as disaffected boys. Through theNew Opportunities Fund and the DfEE's Study Support Programme, theGovernment, is making a significant investment in after school clubs.These initiatives could open the way for an extended school day, offeringmore opportunities for creative and cultural activities.

An earlier start, for example, would allow teaching and learning to beconcentrated during the mornings when students and teachers are mostalert. This would open up afternoon and twilight sessions for supportingindependent study, ensuring that the large group of students who find itimpossible to do homework because of lack of key skills or parentalsupport; can catch upon those who have every advantage. This opens uphuge opportunities for extension and creativity, for developments such ascompetitive sports between schools, for the arts and for schemes likeBirmingham's University of the First Age. There can also be greaterflexibility at this time and more use of adults other than teachers.

Staff INSET, particularly for the use of ICT, team meetings and links withindustry and commerce, with all the disruption this can cause, can alsotake place during the afternoon and twilight sessions without removingteachers from their teaching of the National Curriculum. For the students,their days would be far more varied; they would have completedhomework or independent and extended work assignments and greateraccess to creative activities. Clearly there would be implications andpossible difficulties for working parents. These need to be addressed andthe disadvantages weighed against the benefits of new patterns ofeducation. By making such a structure an entitlement, the time forlearning would be considerably extended and could lead to greaterenjoyment and achievement.

Redefining the School Year

We have become used to the pattern of three school terms and threelong holidays of different length. This has some inherent difficulties foreducation. Internationally, successful models have four or five terms withbreaks between which prevent the huge discontinuity of a five and a halfweek summer break. This is a particular problem between Key Stages 2and 3, as children are not being taught at the same pace after SATs in Mayuntil September a break of three months. The exhaustion of keeping upquality teaching and learning through the very long fifteen/sixteen weekAutumn term would also be removed. East Sussex LEA is embarking on afive-term year model and some other authorities are currently discussingsimilar possibilities. We want to urge a thorough evaluation of theseinitiatives to help inform the debate on a possible redefinition of theschool year.

86


as

In the United Kingdom,the Millennium Com-mission has awarded£41.3 million to Bristol2000 and a further £27million to the Inter-national Centre for Lifein Newcastle and, tothese figures, can beadded the grant of£23m from the HeritageLottery Fund to theNational Museum ofScience and Industryand countless other andrecurrent sums spentby industry, governmentand by radio and televi-sion companies in anattempt to engage thepublic with scientificideas. Science and tech-

nology 'weeks', 'fairs','Olympiads' and compe-titions are now com-monplace and theboundaries betweeneducation and entertain-ment have become suf-ficiently blurred to sus-tain 'edutainment' as aneologism. There is

ample evidence thatmany young people andmany adults are inter-ested in science but onselective and criticalbasis. This interestneeds to be set along-side the relative unpop-ularity of the sciences,especially the physicalsciences, as subjectsfor study beyond theage of 16.

DO'

Professor EdgarJenkins

85

asWe cannot affordpoverty of vision, letalone poverty of aspira-tion. There are alwaysrisks in changing, butthe risk of failing to

i change is much greater.

DU

Valerie Bayliss, 1998,Redefining Schooling,RSA

86

Summer Schools

Currently, the long summer holidays are filled by a wide range of summerschools. Many of these focus on the improvement of literacy andnumeracy skills. There would be value in extending the range and type ofsummer schools to include opportunities for creative and culturaldevelopment. These opportunities could be hosted in collaboration withcultural organisations and businesses. We say more about suchpartnership initiatives in Chapter Eight.

Conclusion

The changes we propose to the curriculum are intended to create theconditions in which creative abilities and cultural understanding can beformed more effectively. Changes to the curriculum in themselves will notdo this. Nonetheless, we believe that the changes we propose here to thepriorities, structure and organisation of the National Curriculum areessential to creating the circumstances in which the creative and culturaleducation of young people can flourish. Within each curriculum area,teachers will need to:

o require young people to think creatively by setting appropriateassignments;

O offer practical support and guidance in the processes of creativity;

O promote the four roles of Cultural education we identified in ChapterThree.

In the next chapter we look at the implications for teaching and learningand for school policies.

Recommendations

We recommend that:

i. The rationale for the revised National Curriculum from 2000 should makeexplicit reference to the necessity of promoting the creative and culturaleducation of all young people. In relation to creative and cultural educationit should specify:

a. the knowledge, skills and values which young people should acquire;

b. the principles of organisation of the National Curriculum to facilitatethese outcomes;

c. the principles of teaching and learning through which they will berealised.

The DfEE should put in place a more fundamental review of the structureand balance of the National Curriculum beyond 2000. Within this review fullconsideration should be given to achieving parity between the followingdiscipline areas throughout key stages 1-4 as a matter of entitlement:


o language and literacy;

O mathematics and numeracy;

O science education;

O arts education;

O humanities education;

O physical education;

o technological education.

iii. In order to achieve parity, the existing distinction between core andfoundation subjects should be removed.

iv. Provision for creative and cultural education in early years educationshould be further developed, in particular through provision for the arts.

v. The structure of Key Stages 3 and 4 should be reviewed. Reducing KeyStage 3 to two years (11-13) and increasing Key Stage 4 to three (13-16)would increase the vitality of Key Stage 3 and the opportunities for depthof study and choice in Key Stage 4. The curriculum of Key Stage 4 shouldbe designed to maintain breadth and avoid narrow specialisation.

vi. The pressures on schools should be reduced by ensuring that the NationalCurriculum programmes of study, and the requirements for assessmentand reporting can be accommodated within 80 per cent of the ordinaryschool timetable. The statutory requirements should specify theentitlement of young people in each of the subject areas, and the criteriafor attainment and assessment. Schools should have increased freedomto devise patterns of curriculum provision to meet these requirements.

vii. In its overall structure and in the specific programmes of study andattainment targets, the revised National Curriculum should be based on sixprinciples: breadth, balance, relevance, parity, entitlement and access. TheGovernment should reinstate the requirement to follow the full NationalCurriculum in the core and foundation subjects in Key Stage 1 and 2.

viii. The QCA should disseminate successful models of curriculumorganisation and timetabling that promote creative and culturaldevelopment within and between the main subject areas. These materialsshould be made available on the National Grid for Learning and throughother media.

ix. Head teachers should conduct an audit of the quality and nature ofopportunities for creative and cultural education for all the pupils in theirschools, including the balance of the curriculum in all Key Stages.

x. A thorough investigation should be undertaken into possible redefinition ofthe school day and year.

88Developing the Curriculum NACCCE Report 87

asThe most importantdevelopments in civili-

sation have comethrough the creativeprocess, but ironically,most people have notbeen taught to create.

DD

Robert Frotz, ThePath of LeastResistance, 1994

anA creative approach toteaching should improve

academic results, notdetract from them.

Dawn FrenchDD


960

Ontroduction

In this chapter we look at the implications of our arguments for teaching andlearning and at the processes that are involved. We look first at issues increative education and go on to relate them to our view of cultural education.

`Only Connect'

We want to make some preliminary points. First we began this report byarguing that developing creative and cultural education raised systemicissues: that it involves all aspects of education including styles of teachingand assessment and the ethos and values of individual schools and ofmore general educational provision. We believe this is true and in latersections we look at these wider issues. But the heart of education is therelationship between teachers and learners, and by extension therelationships that also develop between learners youngpeoplethemselves. Creative and cultural eduction require and make possibleparticularly rewarding relationships betWeen all of them.

Second,.creative and cultural education are not subjects in the curriculum:they are general functions of education. They can and should be promotedin all areas of the curriculum and not just through so called 'creativesubjects'. Different areas of the curriculum do contribute to creative andcultural education in different ways. The opportunities and the focus in thearts, for example, are not identical with .those of the sciences andhUmanities, nor with physical education. Each of these broad areascontributes in different wayS to a balanced .education as we suggested inthe last Chapter. But there is also considerable overlap and potentialsynergy between different curriculum areas as we implied in discussingthe dynamics of intelligence and of culture in Chapters Two and Three.Not least, there are similarities in the processes of teaching and learning.

There is a further point to emphasise. There is much debate aboutmethods of teaching in schools, and in particular about the effectivenessof 'progressive' teaching methods. These include methods that encourageexploratory learning activities; group work and 'learning from experience'.These methods are often associated with promoting creativity, freedomand self-expression. Some critics of progressive education see a linkbetween these and a 'lack of rigour and authority in schools, and with lowstandards. They prefer more 'traditional' methods of teaching: thoseassociated with 'formal instruction of specific skills and content. In theseterms, the debate on teaching and learning seems to some to involve achoice between creativity or rigour, freedom or authority.

In our view, there is a balance in all good teaching betweerformal instructionof content and of skills, and giving young people the freedoM to inquire,

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question, experiment and to express their own thoughts and ideas. Increative and cultural education, this balance is a matter of necessity. Genuinecreative achievement, for example, draws from skills, knowledge andunderstanding. These are sometimes taught best through formal instruction.But formal instruction alone will not encourage creativity and may even stifleit. In thinking about the nature of creative and cultural education in schools it

is vital to move beyond divisive stereotypes of traditional or progressiveteaching, and to see the need for elements of both. Creative education andcultural education are not the same, but they are intimately related. We wantnow to look a little closer at some of the principles and processes involved.

We begin with creative education.

Teaching Creatively and Teaching For Creativity

There is an obvious sense in which children cannot be 'taught' creativity in the

way that they can be taught the times tables. Creative processes do drawfrom knowledge and practical skills. It is also the case that there are various

techniques to facilitate creative thinking. But this does not mean that childrenare taught creativity by direct instruction. We define creative teaching in two

ways: first, teaching creatively, and second, teaching for creativity. Many

teachers see creative teaching in terms of the first (NFER 1998:311. Our terms

of reference imply a primary concern with the second. By teaching creatively

we mean.teachers using imaginative approaches to make learning moreinteresting, exciting and effective. Teachers can be highly creative in

developing materials and approaches that fire children's interests and motivate

their learning. This is a necessary part of all good teaching.

The Preseni.Capturing young children's attention, making an activity attractive andexciting, takes imagination and creativity on the part of the teacher.Some aspects of the curriculum appear difficult to introduce in animaginative way: for example, that living things need air, water andfood. In this approach the teacher captured the children's interest andchallenged them to think and make sense of the experience. Childrensat on the carpet area and watched as the teacher brought out a boxcovered in brightly coloured paper with a big bow on top. The teacherexplained: "A friend of mine has sent me a present, doesn't it looklovely? She says that it is a very important present and I couldn't livewithout it. I wonder what is inside?"; she gave the box a gentle shake,but the children couldn't hear anything and wondered if there wasanything inside. When the box was opened, it was empty and thechildren gasped. "Oh dear!" said the teacher, "There's nothing in thebox. Why would my friend say there was something in the box which Ineeded to be able to live?" The children offered ideas until one childmade the connection and exclaimed: "It's air, it's air in the box!"

Information provided by Julia Kelly, Dudley Infant School, Hastings

By teaching for creativity we mean forms of teaching that are intended todevelop young people's own creative thinking or behaviour.

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To me the essence ofcreative and culturaleducation is that indi-viduals, in this caseyoung people, find theirown creative/cultural'voice', develop skills toservice this, engagewith the creativity andwork of others with aview to participating insociety. It has to be anactive engagement.When it is, it is an

answer to other prob-lems: social exclusion,disaffection, etc. Butthe creative act

whether it is an artsactivity or another cre-ative endeavour has

to empower the individ-ual child. At best it cri-tiques and challengespast and current prac-tice and leads torenewal of the individ-ual and the society.

DU

Pauline Tambling,Director of Educationand Training, ArtsCouncil of England

aQCreative thinkingskills

can promote quality andcoherence in educationand training in the inter-ests of industry, theeconomy and society.

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Design Council

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LIL1

I gravitated towards theteachers that encour-aged or pushed methat made me laugh.My science teacher MrBrooks made us smilewith his diagrams andwitty remarks. He let aschool friend and

myself go into his backlab with a tape recorderand make stupid radioshows for our friends.He didn't know it at thetime, but Mr Brookswas sowing seeds. I

think I desperatelyneeded to be told that Iwas an OK kid. I was abit lost I think.

DD

Lenny Henry

asEach child has a sparkin him/her. It is theresponsibility of thepeople and institutionsaround each child tofind what would ignitethat spark.

Howard Gardner

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Teaching for Creativity

Teaching for creativity involves teaching creatively. Young people's creativeabilities are most likely to be developed in an atmosphere in which theteacher's creative abilities are properly engaged. To put it another way,teachers cannot develop the creative abilities of their pupils if their owncreative abilities are suppressed. This too has implications for the curriculum

and in particular for the type and amount of national prescription of whatis taught and how, and for teacher training. Teaching for creativity is ademanding process which cannot be made routine. However, it is possibleto identify some general principles. There are three related tasks in teachingfor creativity: encouraging, identifying and fostering.

Encouraging

Highly creative people in any field are often driven by a strong self-belief intheir abilities in that field. Having a positive self-image as a creative personcan be fundamental to developing creative performance'. Many youngpeople and adults do not think of themselves as creative and lack theconfidence to take even the first steps. Consequently, the first task inteaching for creativity in any field is to encourage young people to believein their creative potential, to engage their sense of possibility and to givethem the confidence to try'. These are the most simple steps but they canbe the most important for stimulating creative performance. Otherattitudes are important for creative achievement; these include highmotivation and independence of judgement, willingness to take risks andbe enterprising, to be persistent and to be resilient in the face of adversityand failure. These attitudes can be encouraged and nourished to varyingextents in all young people, particularly if they are linked with thedevelopment of self-directed learning. We come back to this idea later.

Identifying

All young people have different creative capacities. A creative musician isnot necessarily a creative scientist, a creative writer is not necessarily acreative mathematician. An essential task for education is to help youngpeople to discover their own creative strengths. Creative achievement isoften driven by a person's love of a particular instrument, for the feel ofthe material, for the excitement of a style of work that catches theimagination. Identifying young people's creative abilities includes helpingthem to find their creative strengths to be in their element. This too 1-isimplications for the range and balance of the curriculum.

Fostering

Creativity draws from many ordinary abilities and skills rather than onespecial gift or talent. Thus the development of many common capacitiesand sensitivities can help to foster creativity for example, curiosity canbe stimulated, memory can be trained and awareness can be enhanced.


Recognising and becoming more knowledgeable about the creativeprocess can also help foster creative development; teaching for creativityhelps young people in understanding what is involved in being creativeand becoming more sensitive to their own creative processes. Creativeability is best enhanced in the process of being creative. This 'learning bydoing' can be further developed and enriched by working with personalmodels and mentors who are prepared to share their experience3. Wecome back to this in Chapter Eight.

In teaching for creativity, teachers aim to:

o allow for both broad and narrowly focused experimental activity, butalways specifying and explaining the purpose of such activity. Thoseinvolved have to feel prepared and secure enough to be willing totake risks and make mistakes in a non threatening atmosphere thatchallenges but reassures. Such work has to be carefully tuned to theappropriate level of development;

O encourage an appropriate attitude towards imaginative activity a

sense of excitement, respect, hope and wonder at the potential fortransformative power that is involved, accompanied by a sense ofdelayed scepticism and distance;

O assist in the understanding of the room that has to be given togenerative thought, free from immediate criticism by the learner orothers before ideas are subject to rigorous critical evaluation andfurther development;

o encourage self expression that is oriented towards a given task;

o convey an appreciation of the phases in creative activity and theimportance of time including the ways in which time away from aproblem may facilitate its solution;

O assist in developing an awareness of the differing contexts in whichideas may occur and of the roles of intuition, unconscious mentalprocesses and non-directed thought in creative thinking;

O encourage and stimulate learners in periods of free play with ideasand conjecture about possibilities, but complement this with criticalevaluation in testing out ideas;

o emphasise the use of the imagination, originality, curiosity andquestioning, the offer of choice, and the encouragement of thepersonal attributes that facilitate creativity.

Teaching for creativity aims at encouraging:

O autonomy on both sides: a feeling of ownership and control over theideas that are being offered (Woods 1995:3);

o authenticity in initiatives and responses, deciding for oneself on thebasis of one's own judgement;

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A lot of people findthemselves being cre-ative despite theirsocial standing. You'rethe kid who's smart, soall your mates listen toyour counsel. You'rethe kid who's funny, sothey look to you for alaugh. You're the greatdancer at the local

disco. You're the onewho's good at buildingstuff. You're the onewho's been practisingthe guitar in your bed-room since you werenine. You're the onewho's good at problemsolving. I think it's a

teacher's job to spotthese kids and givethem a nudge in theright direction encour-age the smart one toget smarter; encouragethe funny one to readbooks, look at the histo-ry of comedy, organisehis thoughts, write stuffdown; encourage thedancer to practice, lookat videos, see shows,etc. I know there aresome schools that dothis, but there are a lotthat don't. It is not justabout numeracy and lit-eracy... it's about vigi-lance, kindness, empa-thy and creativity.

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Lenny Henry

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LBThe ability to thinkabout your own think-ing (metacognition) is

essential in a world ofcontinuous change.

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John Abbott

aQ

Learning involves goingbeyond simply acquir-ing new informationand adding it to ourexisting knowledge. It

involves us in makingsense of new informa-tion by using our exist-ing knowledge and

modifying, updatingand rethinking our ownideas in the light of thisnew information.

UU

Scottish ConsultativeCouncil on theCurriculum 1996

openness to new and unusual ideas, and to a variety of methods andapproaches;

respect for each other and for the ideas that emerge;

fulfilment: from each a feeling of anticipation, satisfaction,involvement and enjoyment of the creative relationship.

Above all there has to be a relationship of trust. Teaching for creativityaims to encourage self-confidence, independence of mind, and thecapacity to think for oneself. Such teaching is compatible with a widerange of teaching methods and approaches in all areas of the schoolcurriculum. The aim is to enable young people to be more effective inhandling future problems and objectives; to deepen and broadenawareness of the self as well as the world; and to encourage opennessand reflexivity as creative learners.

Self-directed Learning

Encouraging self-monitoring, reflection upon their own performance andprogress, and thinking about their own thinking metacognition can

enhance young people's control over creative activity and thedevelopment of their best practice'. In these ways the aim is to encouragethe development of the self-directed learner. Teaching for creativityencourages a sense of responsibility for learning. It aims at a growingautonomy involving goal-setting and planning, and the capacity for self-monitoring self-assessment and self-management. In principle, the earlierself-directed learning is internalised, the better, but again this aspect ofteaching for creativity must be sensitive to the appropriate stage of thelearner's development. It must be recognised that it will be in thesecondary school where self-directed learning is more likely to move intune with the development of young people's growing maturity, the flowof their need for independence, and their growing proficiency in forms ofinformation technology.

Creativity is itself a mode of learning. It is distinctive in the combination ofthree features:

a. It involves a thoughtful playfulness learning through experimental'play'. It is serious play conjuring up, exploring and developingpossibilities and then critically evaluating and testing them.

b. It involves a special flexibility in which there may be a consciousattempt to challenge the assumptions and preconceptions of the self

an unusual activity in which there is an active effort to unlearn inorder to learn afresh.

c. This process is driven by the need to find, introduce, construct orreconstruct something new. It seeks actively to expand thepossibilities of any situation. In this sense the learning of creativethought is not neutral; it has a bias towards the innovative.

9,392 Teaching and Learning NACCCE Report

For these reasons creative activity can itself be regarded as a formof learning particularly suited to the testing and complex conditionsand which will face us all in the twenty-first century and which weoutlined in Chapter One.

A Creative and Visionary TeacherA north Leeds comprehensive, Harehills Middle School, and itsaccompanying youth group Harehills Youth Dance, produced virtually awhole generation of UK contemporary dancers in the 1970s and 80s. In1972, Nadine Senior became the physical education teacher at theschool, situated in a vibrant but run-down multi-ethnic area in northLeeds. Gurmit Hukam, now Artistic Director of the Northern School ofContemporary Dance says, "We began to explore different movements,usually based on imaginative themes given to us by Nadine simple

ideas, involving partner and group work. I guess it first dawned on usthat it was 'dance' when we had our first performance, and Nadineasked us whether we wanted to wear tights and a T-shirt or tights and aleotard we decided on the tights and a T-shirt as the lesser of twoevils!" Nadine Senior always demanded the highest standards of artisticintegrity, but the criteria were as much decided by the children. Therewas no external imposition of artistic ideas or ideals; this was ratherdeveloped from the child's own imaginative responses. Allowed toexpress themselves, Nadine's pupils became 'artists' in the deepestsense, and carried this quality into their later work and careers.

Information obtained from animated

Lifelong Learning

Increasingly, teaching has to promote the skills and attitudes appropriate tothe encouragement of lifelong learning. But the encouragement to 'learning'in itself tells us nothing about the capacity for, or orientation towards, change

or action. We believe that the habit of learning has to be complemented bythe disposition to be creative. Vital as it is in economic, social and personalterms, regular task-oriented retraining will often not be enough. Adultlearning will in future take place in a world where flexibility and adaptability

are required in the face of new, strange, complex, risky and changingsituations; where there are diminishing numbers of precedents and modelsto follow; where we have to work on the possibilities as we go along. In thischanging world, old assumptions and old directions as to the routes forwardcan be a useful asset but they can also become an encumbrance. We willoften find ourselves seeking entrances after emerging through unexpectedexits. This is where creativity is of special importance and where theattitudes and abilities it entails come into their own.

In various ways there are important links between lifelong learning andcreativity. Learning and creativity are enhanced and sustained by a rangeof abilities, attributes and activities common to both including intrinsic

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Setting out to embedthe concepts of creativi-ty deeply in the educa-tional establishment isthe greatest challenge,offering the greatestprize of all. That prizewould be the realisationof an ethos of creativity,rather than a compart-ment of creativity.

CAPE UK

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DD

asTechnology is only evergoing to be as effectiveas the quality of theteacher controlling its

use. More than ever it'sthe quality of thatteacher as the leader ofclassroom practice andthe deliverer of changethat's vital. Highly moti-vated and highly skilledteachers are the keythat can unlock thepotential of every childin Britain.

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motivation, enterprise, persistence and resilience, curiosity, questioningand reflecting, assessing and testing, moving from problems to solutionsand back to new problems understanding and using failures on the roadto success. A prerequisite for effective lifelong learning is sustainedmotivation towards self-improvement. This motivation is at its mostpowerful when it involves both love of learning and the desire forpersonal growth, realising the potential of the individual in some form ofcreative activity.

Creativity and Information Technology

Teaching for creativity must take account of the new opportunitiespresented by information technology. Information technologies provide fornew forms of creative practice, through, for example, computer graphics,animation, and sound production. They are also making available newways of working within traditional forms of creative practice: in design,choreography and musical composition, for example. Informationtechnology can also revolutionise forms of teaching and learning throughproviding easier and fuller access to information, ideas and people.Information technology is one of the easiest ways of encouraging the urgeto learn in a child. It offers them some control over their learning and itlets them interact with the "tools" in such a way that they can make adifference through their own actions. It is not only important to considerwhen and when not to use information and communication technology inthe classroom, but also how best to use them to stimulate learning.

An and III ID PraaiceArt departments in schools are beginning to develop their use of ITalongside traditional art room practice in order to provide opportunitiesfor the exploration of new forms of visual communication.. Artists havealways used new tools and materialS to express their ideas and feelingsabout the world around them. Pupils today have an ever-increasingrange of environments and possibilities in which to create art. As avisual medium the computer has a rightful place within the artcurriculum, both as a tool and a means of expression. As part of a Year7 project designed to give them experience in using a variety ofmaterials, processes and techniques, pupils looked at stimulus materialon Indian art and culture so they could design their own T-shirt motifs.Starting with their own drawings, these were scanned and studentsthen experimented with different colourways and repeat patterns. Theirchosen design was then printed on transfer paper and applied to awhite T-shirt. As part of a study of colour mixing, Year 8 students hadbeen asked to examine the work of Lionel Feininger and create apainting in which they divided the picture's surface into different colourranges. In this part of the work, they were able to use a computerpackage to recreate the same image but this time using flood-fill. Thisintroduced a project looking at Seurat and the Pointillists.

Information obtained from BECTA (formerly NCET)

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Creative Teachers

Teaching with creativity and teaching for creativity include all thecharacteristics of good teaching. These include strong motivation, highexpectations, the ability to communicate and listen and the ability tointerest and to inspire. Creative teachers need expertise in their particularfields. Creative teaching in mathematics involves a command ofmathematical ideas and principles: creative teaching in music involves aknowledge of musical forms and possibilities. But creative teachers needmore than this. They need techniques that stimulate curiosity and raiseself-esteem and confidence. They must recognise when encouragement isneeded and confidence threatened. They must balance structured learningwith opportunities for self-direction; and the management of groups withattention to individuals. They must judge the kinds of questions appropriateto different purposes and the kinds of solutions it is appropriate to expect.

There is a distinction for example between closed questions where thereis one generally agreed solution, and open questions where there can bemore than one. Both may be taught creatively but the open questionsoffer greater opportunity for creative activity on the part of the learner.Creative activity often involves both open and closed questions. Theevidence is that too often our education activities are focused on closedquestions with their reliance on linear processes and logical reasoning.

WhaOne of the most powerful prompts to creative thinking is the asking ofopen-ended questions. Some answers will be better than others, butnone is likely to be 'wrong'. Set out an odd number of counters on atable. Explain that you will need four volunteers, forming two teams oftwo: the rest of the group choose to support one or other team. Askthe teams and their supporters to gather at either side of the table.Stand between the two teams and explain that you'll ask a What If?question. Immediately the two teams will begin having answers. Theteam to your right may speak at normal volume into your right ear; theteam to your left at normal volume into your left ear, simultaneously.Team supporters must not speak to you directly, but can relay theiranswers by whispering them to their team members. For eachreasonable answer you receive, that team will get a point in the form ofa counter. When all the counters have been distributed, the game hasthirty seconds left to run. During that time, good answers will winpoints from the opposing team's store of counters. After thirty secondsblow a whistle to signal the end of the round. Take care to explain thatalthough one of the teams has accumulated more points than the other,they've all won because:You've proved that everyone can have lots of ideas if the circumstancesare right (and you need to have lots of ideas in order to have good ideas).You now have lots of ideas, and therefore some good ones you canlook at in more detail.

From Imagine That by Stephen Bowkett

Teaching and Le n g NACCCE Report

BBTeaching is not to beregarded as a staticaccomplishment like

riding a bicycle or keep-ing a ledger: it is, like allarts of high ambition, astrategy in the face ofan impossible task.

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Lawrence Stenhouse,Education andEmancipationAuthority

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477E3

Teaching for creativity is not an easy option, but it can be enjoyable anddeeply fulfilling. It can involve more time and planning to generate anddevelop ideas and to evaluate whether they have worked. It involvesconfidence to improvise and take detours, to pick up unexpectedopportunities for learning; to live with uncertainty and to risk admitting thatan idea led nowhere. Creative teachers are always willing to experimentbut they recognise the need to learn from experience. All of this requiresmore, not less, expertise of teachers. Creative teachers need confidencein their disciplines and in themselves. There are many highly creativeteachers in our schools and many schools where creative approaches toteaching and learning are encouraged. But many teachers and schools willwant practical support and guidance in developing these approaches.Consequently there are important issues of staff development to addressand we come to these in more detail in Chapter Ten. But there are alsoissues of opportunity.

It is important to reduce or eliminate the factors which inhibit the creativeactivity of teachers and learners and give priority to those that encourage it.There are now in education unusually high levels of prescription in relationto content and teaching methods. There are risks here of de-skillingteachers and of encouraging conformity and passivity in some. At a nationallevel we believe that there are actions that the Government should take toreduce these risks and to promote higher levels of teacher autonomy and ofcreativity in teaching and learning. But there is also much that schools cando to review their own approaches to teaching and learning and the balanceof the whole curriculum. We come back to this later.

Cultural Education

Teaching for creativity is not a single method or technique. It can involve awide range of methods and approaches. It is possible and desirable toteach for creativity in all areas of the curriculum. Throughout this reportwe link together creative and cultural education. First, creative processesdraw from the cultural contexts in which they take place; second, humanculture is the outcome of human creativity in all of its forms. Differentareas of the curriculum lead young people into different forms of enquiryand provide different opportunities to develop their cultural knowledge andunderstanding.

,


Schools are involved in cultural development on two broad fronts. First,they embody and promote particular values and ways of behaving in thekinds of institutions they are. Implicitly and explicitly the culture of aschool is conveyed to young people every day and in many ways: in thestructure and content of the curriculum; in the relationships betweenteachers and learners; in the methods and criteria of assessment; in howthe school is managed and in its links or lack of them with the widercommunity. The ethos of the school and the values it expresses have adirect bearing on the attitudes and values of young people to educationitself and to each other. It is for this reason among the others we havegiven that we describe the issues facing creative and cultural education assystemic. Second, the core business of schools is cultural education. Theprimary purposes of formal education are to develop in young people theknowledge, understanding and abilities they need to make their way in theworld. These include combating ignorance, extending and deepeningcultural knowledge and understanding and encouraging curiosity,questioning and informed critical thought and action. All education involvesa selection. Schools cannot teach everything. The National Curriculumidentifies which subjects are to be taught and what counts as a subject

and what aspects of those subjects are to be included. In those ways,national policy sets a cultural agenda for education. Schools add orsubtract from this in the choices and emphasese they bring to teachingand learning. This process of selection is inevitable and desirable: but itmust be done with care and wisdom if schools are to fulfil the four rolesof cultural education identified earlier.

To enable young people to recognise, explore and understand their owncultural values and assumptions.

As we said in Chapter Three, young people do not develop their ideas andvalues in isolation. This is true of all of us. How we think, feel and behaveis influenced by the cultural environments we live in, by the communitieswe are part of, and by our own histories and backgrounds. Sometimes werecognise consciously the values we hold and the ideas we espouse. Asoften, we are not conscious of them. They form part of our taken-for-granted view of the way things are. They occur to us as common senseuntil we encounter others whose common sense view of the world isstrikingly different. Attitudes to the roles of men and women, or of theplace and station of children and young people are good examples of viewsthat vary greatly between cultures and over time but which tend tobe taken for granted within them and at the time. There are many others.

Teaching and learning should provide opportunities for young people toexplore and recognise what their own assumptions and values actuallyare, and how they have been formed. This is not necessarily a process ofchallenging cultural values but of recognising and understanding them.The arts and humanities provide important opportunities for suchexploration and powerful techniques. Drama, for example is essentiallyconcerned with exploring social behaviour and the values that underpin it.

6r)

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Through improvised drama, and through work on texts young people caninvestigate a wide range of real and imagined social issues through thesafety of assumed roles or situations. This process can generate powerfulinsights into the values and dynamics of groups and communities.

Drama Provides Equal OpportunitiesEqual Voice focuses on new ways of resolving conflicts with specialregard to individual self-esteem. Some of the work was undertaken atCrusoe House, a school for children with emotional and behaviouraldifficulties (EBD). Often pupils remain at EBD schools for many yearsand some are never reintegrated into mainstream schools. The workimproves a child's ability to be emotionally articulate, gives them a voiceand raises their self-esteem so that they can begin to take responsibilityfor their own behaviour. This small change in attitude is often enoughfor a child to be able to return to mainstream education and modify thebehaviour that has caused, and been reinforced by, the stigma ofexclusion and low achievement. Irene Flynn, head at Crusoe House saidof Equal Voice: "Drama provides opportunities to explore and release avariety of emotions in a safe environment. This encourages our pupilsto experiment with different ways of behaving increasing theirrepertoire of acceptable responses. The majority of our pupils have lowself-esteem, often feel under attack and will over-react in aconfrontational and sometimes aggressive manner. The dramaprogramme was of real benefit to pupils. It encouraged positiveinteraction and group work. The environment created by the dramaworkshops was non-threatening and dispelled much of the everydayhostility. Staff also benefited from observing how their pupils respondedto the expertise and techniques used by the Equal Voice leaders."

Information provided by Pop-Up Theatre

To enable young people to embrace and understand cultural diversity bybringing them into contact with the attitudes, values and traditions ofother cultures.

We.see two priorities here for schools. The first is to develop processeswhich help young people to understand cultures that are different fromtheir own. The second is to ensure that young people's own culturalexperiences and traditions are valued and validated. This is especially

98 Teaching and Learning.) NACCCE Report 99

important for young people from minority cultures who may be faced withcomplex issues of identity at home and at school.

Teachers and school need to create opportunities for children and youngpeople from different cultural backgrounds to work together and to learn torespect each others' ways of living. This is not just a matter of learningfactual information about other cultures and times: the real task is toenable young people, as far as possible, to understand other cultures fromthe inside. Seen from their own cultural perspectives, the ideas andpatterns of behaviour of other cultures can seem strange. Young peopleneed to have insight into other ways of living and understand the ideas thatgive them meaning and significance. To achieve this, it is important toprovide opportunities for pupils to work with and listen to people fromother cultural backgrounds: hearing their stories, listening to their language,music and backgrounds, seeing the images and designs that move them.Where possible this can be done through direct face to face contact:meeting and working with people from many different backgrounds andcultures in the school itself and through outside projects and events.

In Chapter Eight we looked at the need to establish networks and linkswith individuals, groups and communities beyond the school. One reasonfor this is to extend the cultural experience of young people. But a varietyof other strategies are also available involving visits, exchanges, residentialweekends, and now video conferencing and the Internet. These can beinexpensive and convenient ways to broaden experience and to learn aboutdifferent cultural values and perspectives. In many areas of the curriculumthese purposes can be met through practical projects: for example, localhistory projects; reminiscence projects talking with older pupils abouttheir lives and times; and through cultural festivals and exchanges.

Celebrating DiversityAt City Infant School a diversity of cultures is in evidence both inassemblies and in the wall displays around the school. One assemblybegan with the head greeting the children in Irish Gaelic, followed by adiscussion, at an appropriate level for their age phase, on how they hadworked out what she had been saying through context, routine andparalinguistic features. Recently a Muslim staff member had taken anassembly explaining the meaning of Eid and showing the children someof the customs of that festival. There were multilingual displays aroundthe school. Wall displays of stories included one labelled 'We heard Mr.Gumpy in English and Turkish', with Turkish-English bilingual labelsbelow the pictures, another big collage display on the book 'The Villageof Round and Square Houses' was labelled 'Cameroons, West Africa'. Amodel of a mosque used in a recent assembly had been kept standingin the hall. The Head's office too, reflected the school's diversity;including Chinese pottery; African batik, statues and masks; SouthAmerican and Russian dolls; a book of Greek myths; examples of Gaelicscript and postcards of Ireland.

Information from Blair et al 1998

Teaching aldiMning NACCCE Report 99

To encourage an historical perspective by relating contemporary values tothe probesses and events that have shaped them.

The huManities and especially history have central roles in helping young

people'io understand the ideas and values of those removed fromthemselves in time and culture. But the lived experience and cultures ofsocieties are intricate and overlapping. Science, technology, political events,

geography, religion and the rest affect each other and the course ofdevelopment of cultural communities. Teaching and learning in all disciplinesshould contribute to a sense of historical perspective and understanding.World science has been deeply affected by intellectual innovations in many

cultures: in geometry, mathematics, and modes of calculation from China,

India, the Middle East and from Europe. It is a world culture with amulticultural history. One of the most vivid ways of feeling the sensibility ofa cultural community or period is to listen to its music or poetry and tounderstand the circumstances that helped to form them. It is important toencourage young people, and teachers, to make connections between

disciplines in the curriculum; and to recognise that the dynamic, interactivenature of culture is a fact, not a theory, which is at the heart of culturalchange and evolution.

To enable young people to understand the evolutionary nature of cultureand the processes and potential for change.

On of the three principles of balance we are proposing is betweenfreedom and tradition. We mean by this that it is important, for all thereasons that we have given, that young people learn about the histories,traditions and established ways of thinking in different disciplines andcultures. But they also need to know that these are evolutionary,sometimes revolutionary processes which are prone to rapid andfundamental change. The driving force of change is human imaginationand creativity in our responses to the demands of living and force ofcircumstances; and the impelling pressures of curiosity and inquiry. Youngpeople are part of this process and can and will be at its leadingedges. In all teaching they need to be enabled to see the importance of,and the opportunities for, innovation, and the processes by which theycan contribute to it. One way of achieving this is to encourage dialogueand debate rather than passivity and acceptance; to encourage theexchange of ideas from a range of perspectives; to set puzzles andproblems, before providing solutions and answers; and to balance closedquestions with open ones.

In teaching for cultural understanding teachers aim to:

0 promote a sense of inclusion and respect between the differentcultural communities and traditions in the school and the classroom;

deepen understanding of the meanings and values that underpindifferent cultural perspectives and ways of behaving;

1k.

100 Teaching and Learning 'NA:CCCEtfleport

o point to the contribution of different local and national cultures toglobal culture;

convey an understanding of the complex interactions artistic,

scientific, technological and others between as well as withincultures;

O encourage an understanding of the different ways in which humaningenuity and creativity have shaped and are shaping the nature anddiversity of human culture.

Casitesrai UnderstandingAt playtime at Sunning Hill primary, white children yomping round theplayground are outnumbered by pupils from families originally from India,Pakistan and Bangladesh. Paul Read, head teacher for 10 years, wantsto ensure that the children who grow up in the tolerant community hehas created in a poorer part of Bolton stay tolerant when they leave atthe end of each day. He is a pragmatic man, with an ethnically diversestaff and an approach to racism based on experience rather than theory.He sees ethnic divisions being blurred by inter-marriage and suggestsreligion can be more important as a defining factor than colour. "It'smindsets that we have to address. We have to concentrate on what wecan do here. We cannot change what goes on at home.""It's difficult to change attitudes given to children for more than fouryears before we see them. And we have them for only 25 hours aweek," said Janet Mar land, Mr Read's deputy. "When there is anargument during a football game, language can be used which has beeningrained in the children since they learned to speak. ...If childrenrespect a teacher, you are more likely to be able to check theirbehaviour, if not change their thought processes." If problems continueMr Read will call in a child's parents and make them aware of behaviourthat will not be tolerated at school. There are assemblies of a broadlyMuslim and a broadly Christian character; and children are free to optout of RE lessons on religious grounds. Sunning Hill has to follow theNational Curriculum, and the Macpherson report recommends it shouldbe amended to stress the value of cultural diversity. Ms Mar landsuggests a start might be made with art, music and history.Abeda Manjra, a teacher at the school, grew up in south Manchesterand studied at Leicester and Leeds universities. She defines herself asa British, Indian, Muslim, Gujerati-speaking woman who on any day canfeel any one of those characteristics more strongly than another. In theclassroom there can be petty feuds and name calling, and whitechildren too can be on the receiving end of racism. Ms Manjra takes thesame pragmatic line as the head. 'The process has to start in the home.I feel I have made an impression with some children. They will go homeand perhaps make a difference there. But sometimes we feel as if weare educating parents as much as their children.'

David Ward, The Guardian, Friday February 26, 1999 School Policy

Teaching ,and Learning NACCCE Report 101

aQ

It has often been saidthat schools 'cannot goit alone' against theforces of racial inequali-ty, prejudice and socialexclusion that are out-side their gates butreach into the class-room. While that maybe true, and offer somecomfort to thoseschools who feel theyare constantly battlingagainst the odds, it

must not become anexcuse for failure totake action, because ifschools do not take astand, what hope is

there for breaking thevicious circle of thesecorrosive forces whichexist in society at

large? Indeed, the bestschools more oftenthan not combine adrive for high achieve-ment with a strongcommunity programmewhich both promotes,and benefits from,good race relations.

Information fromOfsted 1999 a

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Promoting creative and cultural development should involve a commitment

from the whole school. Creative and cultural education can flourish in adversity

and under growing constraints. There are examples of this happening. But the

best conditions for creative and cultural education include that:

a. the school culture is characterised by a willingness to questionassumptions, an emphasis on mobility of ideas and flexibility ofperspective, and a constant raising of new possibilities;

b. the personal attributes significant in creative behaviour are stronglyencouraged;

c. there are opportunities for reflective time, mental play and self-development by teachers and the space and time appropriate tocreative activities and personal styles are available to the learner;

d. bureaucratic burdens are reduced to increase time for reflectivepreparation and experimentation;

e. there is an inclusive policy towards the different cultural traditionsand communities represented in the school and a positive strategyof multicultural education in the content of the curriculum and inmethods and values of teaching.

The Roles of the Head Teacher

The key figure in every school is the headteacher Headteachers can raisethe priority they give to creative and cultural education, engendering anethos in which they are valued and encouraged. Characteristics ofoutstanding headteachers include their passionate conviction; their abilityand determination to use challenges as opportunities; their drive to seekout resources and links which will allow them to achieve their sharedvision for their students and the schools. Such headteachers are creative,risk-takers. They value and use creativity in their own thinking, inmanagement, in teaching and learning and in the curriculum. They holdfast to their conviction that creativity in all its forms must significantlyaffect the children and teachers in their schools and their futures. They areconfident that the important core skills of literacy and numeracy can bedeveloped and enhanced using creative approaches.

A School Action Plan

Headteachers always set the tone of their schools. We believe theyshould give a lead in the development of an action plan for creative andcultural education: a plan which involves teachers, pupils and the widercommunity. Such a plan might involve the following elements.

a. Auditing ProvisionA necessary first step is to take stock of existing provision andopportunities for creative and cultural education. To be effective andcomprehensive this audit should involve all partners teachers,

students, parents and the communities.


1:1) 3NACCCE Report

b. Creating OpportunitiesSchool policies should aim to encourage creative approaches toteaching and learning; in literacy, numeracy, the arts, sciences,humanities, physical education and technology, equally within thewhole curriculum, and establish timetable patterns and flexibility toensure all areas of the curriculum can be enhanced, both within andoutside formal education.

c. Valuing DiversityDiversity should be seen and celebrated as being valuable andenriching to the school environment: not as a problem but as astrength or asset. Children need to be comfortable and empoweredin their own cultures. This may mean giving young peopleresponsibility for managing how they interact with other cultureswith teachers supporting the process: for how the school operatesand to develop anti-racist, anti-bullying strategies, and so on.

d. Monitoring ProgressThe school might establish monitoring systems which identify andencourage students' creative talents and develop praise systems ora rewards policy to celebrate achievement and which monitor inparticular progress and achievement by children from ethnicminorities. Such ethnic monitoring is vital in order to determinewhether all ethnic groups have access to the same opportunities;problem areas can be identified and solutions developed based onethnic monitoring.

e. Developing NetworksThe school could establish networks which bring in expertise andfunding for creative and cultural projects and events. It could developlinks between schools in different areas even between countries

to combat parochialism and to widen experience of pupils outsidethe immediate environment of the school. It is essential in these andother ways to widen children's experiences to raise achievement

f. Involving ParentsIt is always important to involve parents in the working life of theschool. Children bring an immense amount of cultural baggage withthem to school each day from parents and social circumstanceswithin community. Some parents are suspicious of institutions.others are very involved, competitive and demanding. Regularmeetings and events can be vital in enriching the creative andcultural life of the school and in strengthening their support for it.The agenda for teaching and learning we have offered here willrequire schools to give parents full information and understanding ofwhat is involved and, perhaps crucially, what is not involved.Parents will need reassurance that the school priorities are right. Themore they are involved, the more likely it is that learners will be ableto respond fully to this agenda. In Chapter Eight we make a range ofsuggestions for how this involvement might be further developed.

Teaching and Learning NACCCE Report

asFollowing an analysis by

ethnicity of NationalCurriculum results in

one primary school,concern about blackunderachievement andlow self-esteem led to afocus on the culture ofBlack African pupils,even though they werefew in number in thispredominantly BritishAsian school. Africaninfluenced art and craftwork was developed aspart of a curriculum ini-tiative in history whereBenin was chosen as aunit of study. Work ofoutstanding quality, sup-

ported by stimulatingand carefully chosenartefacts, was much inevidence in the school.The response of all thepupils was enthusiastic.The progress and

behaviour of the blackpupils have improved.

DUInformation fromOfsted 1999 a

103

asIn one of the BlackCaribbean schools thecurriculum wasenriched by a focus onBlack History whichcoincided with a bienni-al book week. BlackAfrican and Caribbeanpoets and story tellerswere invited to workwith the pupils. Theresponse of pupils andtheir parents was verypositive. When parents'cultures are recognisedby the school, theirinterest and involve-ment in the curriculumoften increase dramati-cally. Most curriculumpolicies in theseschools advocate an

intercultural approach.In a curriculum policyon humanities forexample, staff are

encouraged to "look atBlack peoples' historythrough positive imagesand powerful figuresrather than as victims".

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g. The Ethos of the School

Multicultural education should be institutionalised into school life asan attitude or value. Values stay with children far longer than items ofspecific information about different cultures. But both are needed.The starting point for creating a positive multicultural school ethos isto create a safe, friendly and welcoming environment with which allthe children can identify, regardless of race, class, gender, languageor culture. All young people need to feel secure, safe, respected andallowed to achieve and succeed. Children should feel confident toshare their own cultural traditions without fear of being persecutedfor them. The school environment can play a critical role, for exampledisplays of children's creative work in a range of forms. Givingchildren responsibility for their environment through school councilsand other formal and informal structures can be a vital foundation.

Headteachers cannot act alone in this. They must involve all the staff, andthey must provide for staff development to enable their plans to be putinto practice. We come to these issues in Chapter Ten.

Every Subject a Creative SubjectMalbank School and Sixth Form Centre in Cheshire has been identifiedas one of a number of vastly improving schools. The headteacherattributes their success to creative and cultural education: "Visitors areinvariably struck by a range of creative, purposeful activity taking placethroughout the school. They see evidence of a lively cultural life, whichvalues creative and cultural education for its own sake, for what itcontributes to young people's achievements and to the success of aschool. Virtually everyone gains good GCSE and four good A levels isthe norm at the sixth form of some 400. We regard every subject as acreative subject, in which youngsters are encouraged to think creativelyand work creatively. They create aesthetically pleasing, useful 'things'alongside interesting and stimulating images and ideas; they tackleproblems requiring imaginative solutions; they participate in events andcelebrations which enhance the school's 'learning culture' and theyexperience something of the traditions and cultures of people in othertimes and in other societies. This 'sort' of education, institutionalisedthrough agreed curriculum principles and entitlements, monitoring,review and development, develops students' key skills and motivatesthem to participate actively, to take pride in their work, to want to learnmore. Creative and cultural education contributes to their having themeans and the will to achieve success. OFSTED found that 'teaching,learning and academic standards are of a very high order'; 'qualitystandards', 'high achievement' in a 'good school which is determined tobecome even better'. This is not despite our putting thought, time andenergy into the creative and cultural dimensions of the curriculum. It isa product of our doing so."

Allan Kettleday, Headteacher, Malbank School

1z5Teaching and Learning NACCCE Report

9M3

Advice and Materials

The QCA is developing non-statutory guidance for schools in a number ofNational Curriculum subjects. The case we have presented for creativeand cultural education, and the approaches to teaching, learning andassessment that are required, call for careful programmes of curriculumand staff development. The QCA should support this process withguidance for all areas of the National Curriculum. Such guidance should besupported by training opportunities provided through the Standards Fundand other sources. We will return to this in Chapter Ten.

There are a number of distinctive systems and approaches to creativethinking, including problem-solving. These systems make available specifictechniques for generating ideas, by individuals and groups, and forevaluating them critically. Often they are based on ways of distinguishingthe different phases and tasks in creative thinking. Among the best-knownof these are:

o the work of Edward de Bono in promoting 'lateral thinking' and histechniques of group creativity through the 'Six Hats' method;

o the Synectics method which promotes the use of metaphor andanalogy;

o Accelerated Learning which uses techniques of association andvisualisation to improve memory and make creative connections;

Thinking Skills which promotes a number of techniques, particularlyin raising attainment in mathematics and science;

Mind Mapping, a technique developed by Dr. Tony Buzan forrecording information and seeing patterns in ideas.

These and other techniques are being taken up by business, industry and,increasingly, by public institutions as ways of fostering creativity in theworkforce. We see considerable potential for their use in education, to

enable teachers and pupils alike to tap into their own process of creative

thinking. It has not been within our remit orresources to evaluate the efficacy ofparticular techniques or programmes. Butwe think that this should now be done bythe QCA in association with others, and thatadvice, materials and impartial informationshould be made available to schools.

Conclusion

In this chapter we have looked at what isinvolved in teaching for creativity andcultural development. In the next chapterwe look at what is involved in assessing

10Teaching and Learning NACCCE Report

asThe education systemshould be aware of dif-ferent ways of thinkingand not be restrictive.

DDProfessor Sir HaroldKroto

de,It is our job to deter-mine what makes acreative child a creativeadult.

Sir Claus Moser

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1lT§

these processes of teaching and training. Appropriate forms of

assessment and accountability are essential to raising standards in schoolsand to sustaining the strategy for improvement that we propose.Inappropriate forms of both will have the opposite effects. Changes to thecurriculum must be supported by developments in the national systems ofassessment and inspection.

Recommendations

We recommend that:

i. Head teachers and teachers raise the priority they give to creative andcultural education; to promoting the creative development of pupils andencouraging an ethos in which cultural diversity is valued and supported.

ii. The QCA should:

a. undertake an evaluation of existing techniques and programmespromoting creative thinking skills and creative problem solving;

b. establish pilot projects to develop practical programmes andtechniques for promoting creative thinking in primary and secondaryschools, and formulate advice to schools;

c. develop non-statutory guidance for creative teaching and learning foreach subject and attainment target of the National Curriculum;

d. collate examples and curricular materials of positive uses of theliteracy and numeracy strategies in creative and cultural education inprimary schools.

These materials should be made available on the National Grid forLearning and through other media.

iii. School plans for staff development should include specific provision toimprove teachers' expertise in creative and cultural education.


7Raising Standards

introduction

Assessment and inspection have vital roles in raising and maintainingstandards of achievement in schools. Methods of assessment must beappropriate to different types of learning if they are to encourage and notinhibit the creative and cultural development of young people. In thissection we discuss the need for assessment and identify a number ofdifficulties in current approaches. We argue that there is a need to restorea proper balance between different types of attainment target, andbetween the different forms of assessment that are needed. On this basiswe make proposals for the development of assessment methods, and forrelated developments in the national framework for school inspection.

The Need for Assessment

Our consultations have revealed many concerns about the effects ofcurrent processes of national assessment on creative and culturaleducation. Assessment is the process of judging pupils' progress andattainment. Reliable and systematic assessment is essential in all areas ofthe curriculum, to improve the quality of teaching and learning and to raisestandards of achievement. This is as true of children's creative and culturaleducation as for all other areas of education. But how assessment is donemust take account of what is being assessed. For many people, this iswhere the problem lies. As they see it, education is increasinglydominated by methods and criteria of assessment which, at best, takelittle account of creative teaching and learning, and which, at worst,militate directly against them.

The problem for creative and cultural education is not the need forassessment, but the nature of it. In principle, assessment should supportchildren's learning and report on their achievements. In practice, theprocess of assessment itself can determine the priorities of education ingeneral. Our consultations suggest four related problems: first, a growingemphasis on summative assessment; second, the related emphasis onmeasurable outcomes; third, the difficulties of assessing creativity; fourth,the growing pressures of national assessment on teachers and schools.Each of these need to be addressed if national assessment is to supportrather than inhibit creative and cultural education.

Methods and Functions of Assessment

Methods of assessment can take many forms: from informal judgementsin the classroom, to written or practical assignments, to formal publicexaminations. They can draw on many forms of evidence: from children'sattitudes and participation in class, to portfolios of course work, to formal

ARaising Standards NACCCE Report

aQThe present assess-ment arrangementsneed to be scrutinisedto determine the extentto which they supportthe teaching of scienceas a creative and imagi-native activity. There is a

growing body of evi-

dence, for example, that

the teacher-conductedassessment of 'scientif-ic investigations' at KeyStage 4 reduces science

to little more than analgorithmic variable-han-

dling exercise.


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Because behaviouristobjectives had to beobservable, attainmenthad become the onlyeducational yardstick,thereby excluding con-cepts like creativity andunderstanding.

DU

Professor JohnMac Beath, Director ofthe Quality inEducation Centre,University ofStrathclyde

assignments in writing or other media, to conventional essays andexamination scripts. All of the work that children do can provide evidencefor three distinct but related functions of assessment.

o Diagnostic

To analyse pupils' capabilities and aptitudes as a basis for planning.

o Formative

To gather evidence about the pupils' progress to influence teachingmethods and priorities.

SummativeTo judge pupils' achievements at the end of a programme of work.

All three functions of assessment are important in schools. In practice,

national assessment puts the strongest emphasis on summative assessment.

High Stakes Assessment

Summative assessment has two distinct purposes. The first is certification:summative assessments are the basis of school leaving certificates and ofthe judgements about pupils which are passed from one stage of schoolingto the next. These are so called 'high stakes' assessments. The second isaccountability: summative assessments are used to judge how well theschool itself is doing overall and how the performances of different schoolscompare. The outcomes of these assessments are linked to the publicstatus of schools, to their funding and, ultimately, to their survival. Since1992, the DfEE has published data on school performance and rate of pupilabsence. This information is used by the national press to compile leaguetables to rank schools publicly. The DfEE publishes a whole range ofperformance measures; the press tends to use the information selectively:for example, by putting emphasis on the number of students attaining fiveor more GCSE grades A*-C. The DfEE aims to publish more information onachievement to steer public attention away from crude league tables, andis moving towards the publication of value-added performance tables. As itis, poor performance in these 'high stakes' assessments can affect therecruitment of pupils, associated funding, and the long-term viability of aschool. As a result, summative assessments have a powerful influence onthe ethos and priorities of schools.

108 Raising Standards NACCCE Report

Measurable Outcomes

The comparative use of summative assessments to rank pupils, schoolsand local education authorities, puts considerable emphasis on 'objective'testing and on 'measurable outcomes'. Such testing tends to concentrateon testing pupils' recall of factual knowledge and skills which can bemeasured comparatively. It generally takes little account ofexperimentation, original thinking and innovation: processes which areessential to creative and cultural development. Evidence from QCAmonitoring indicates that national testing of 11-year olds has changed theway nearly eight out of ten primary schools plan their curriculum. Out of400 primary schools surveyed, the majority reported that national testinghad changed their focus of curriculum delivery. Almost one in fourprimary schools said they 'taught to the tests' while fewer than half saidit was possible to cover the curriculum satisfactorily in the teaching timeallowed. Only 47 per cent of schools said they had time to teach outsidethe National Curriculum. Three out of five schools said geography hadlost the most teaching time, while 60 per cent of teachers said five toseven-year-olds were losing out on time for art. A survey of 370secondary schools revealed that Key Stage 3 tests had had a similar

impact on teaching strategies.

The programmes of study and attainment targets of the NationalCurriculum are broad and balanced. But some subjects, some attainmenttargets, and some types of learning outcome are now self-evidently moreimportant than others. Some areas of achievement are tested objectivelyand validated externally: others are left to teacher assessment. Only theformer are used in judging the effectiveness of schools, and only theseare monitored. The focus of teaching narrows, and so does children'slearning and achievement. Some areas of the curriculum, especially artsand humanities; some forms of teaching and learning, includingquestioning, exploring and debating, and some aspects of particularsubjects are neglected. The understandable tendency among pupils,parents and teachers is to respond to what the assessment system valuesmost: and for education as a whole to fulfil MacNamara's Fallacy: 'thetendency to make the measurable important rather than the importantmeasurable' (Rowntree 1977). This is not the intention of the NationalCurriculum, but many schools and teachers see it as the practical effect.

Assessing Creative Development

A further problem is that assessing creative and cultural development ismore difficult than testing factual knowledge. In the first place, conventionalassessment tends to focus on products or outcomes. We noted earlier thatcreative outcomes have to be both original and of value. But there aredifferent types and degrees of originality. Moreover, judging value dependson a sense of clear and relevant criteria. Teachers are often unclear aboutthe criteria to apply to children's creative work and lack confidence in theirown judgement. Second, we have also argued that creative practises often

Raising Standards NACCCE Report

BB

Although assessmenton its own cannotchange approaches tolearning, we know thatassessment is a power-ful device to help gearteaching and curricu-lum. In order to encour-age the teaching anddevelopment of higher-order skills, thinkingprocesses and prob-lem-solving, we mustuse assessment whichdirectly reflects theseprocesses.

DUProfessor CarolineGipps, KingstonUniversity

L,0

Active learning does notmean that learners haveto 'discover' things forthemselves but thatthey must be activelythinking for themselves.

Har len and James1997

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DU

depend and build on 'failure' and successive attempts to reach a solution.Much of the value of creative work in education is inherent in this process,and not only, in the final product. Assessing creative development ineducation has to take account of the value of the process, and of children'slearning and achievement through it, as well as of the qualities of the publicproducts that result.

In these ways, judging children's creative development does requireexpert judgement and teachers do need help and advice on how thisshould be done. Insensitive assessment can damage children's creativity.Marilyn Fryer (1996) notes that formally assessing all the work childrenproduce can be inhibiting. Torrance has found that children are monitoredso much that they hardly make the leap in their thinking for fear ofcriticism. This forces them to take the safe option, avoidingexperimentation and never learning how to find and correct their mistakes.In Project 1000 (Fryer 1996) a geography teacher described howinsensitive marking encouraged children to play safe, writing only whatthey know to be correct. Renf row shares this view, maintaining thatexcessive emphasis on accuracy is counter productive it discouragesexperimentation and risk-taking by pupils. A deputy head who took part inProject 1000 described how he worked hard to build children's selfconfidence but he feared that this would be completely undone by anexcessive emphasis on testing. Another teacher described how somechildren felt unable to make a mark on the paper because of distressingpast experiences of assessment'.

Children need periods where they can experiment, make mistakes andtest various approaches without fear of failure. Immediate assessmentcan overlook aspects of creative development which only become visiblein the longer term. There are also issues of comparability. How shouldyoung people's creative work be compared between schools or regions?The difficulties of assessing creative development can be overcome andthere is much research, experience and expertise to draw from. Theproblem is that tackling these issues is not yet a priority nationally, nor inschools. For these and the other reasons we have indicated, the emphasisin national assessment remains on factual knowledge and on 'objective'testing of skills. The net effect is to increase the emphasis on some formsof learning and to lower the status of others.


IE &erybody can be somebodyI have yet to meet a young person who does not want to do well. Theywant to be recognised for their achievements. They want to show thatthey too have something to offer. They want to feel they are somebody.We want standards to rise, but sideline that very area of learning wheremany students can excel. It is not uncommon for parents to make it clearthat they would prefer their child to drop art, dance, drama and, if needbe, music, to make way for 'more important' subjects. The arts can buildconfidence in the student, release talent in their learning, and act as alightening conductor for achievement in other subjects. Some schoolsgreatly value expressive subjects in their own right, and as a vehiclecapable of driving higher standards in other areas of learning. In theseschools, framed art work proudly displayed shouts out, from every wall,how good individual student work can be. The fact that this framed worksurvives undamaged makes a powerful comment about pride andpersonal discipline. The same is true of music, dance and drama. Theselearners can demonstrate ability greater than that of the teachers. Notmany subjects can boast this. And it is a degree of relative excellencethat motivates. All can succeed. All it takes is a self-belief and themotivation to make it work. Everybody can be somebody.

Steven Andrews, Greenwich Education Directorate Secretariat

The Pressures of Assessment

There is a further problem. Teachers and schools now spend considerabletime on the administration of assessment, collecting, analysing andsubmitting information for national testing and spending proportionatelyless time in developing courses, teaching materials and strategies. Theyhave to record and report in detail the basis of their assessments andsubject them to time consuming processes of national checks andbalances. Teachers complain that their own judgements are neithertrusted nor valued. Clearly, there must be national moderation of pupilassessment to ensure fairness to individuals and comparability betweenschools. But the strong sense we have from our consultations is that thepresent levels of administration have become counter productive.Teachers are willing to accept greater responsibility for assessment as partof their professional duties. With appropriate support and training, webelieve they should. This is desirable in general terms. It is also necessaryto enable teachers to create the conditions for creative and culturaleducation which we have set out. We strongly support the need forreliable forms of assessment. But the methods and styles of assessmentmust be appropriate to the tasks in hand. What actions are needed?

Proposals for Development

The programmes of study and assessment targets of the NationalCurriculum emphasise the need for breadth and balance. In some subjects

t -11ZStandards NACCCE Report

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More responsibilityshould be given back toteachers. They can'tstimulate creativity if

they feel powerlessthemselves. It is essen-tial to have pressure onschools through inspec-tion, but it should gohand-in-hand with sup-port. DU

William Atkinson,Head, Phoenix HighSchool

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aQThere are now tremen-

dously high stakesinvolved for both indi-vidual teachers and forschools in the currentsystem of assessment,especially in the coresubjects. This contextmilitates against inno-vation, and encouragesteachers to play safe.We need an assess-ment framework whichsupports creativity,without compromisingrigour.

Valerie Hannon

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there are specific attainment targets that relate to exploratory and creativework. For example: Mathematics Attainment Target 1: Using and ApplyingMathematics; Science Attainment Target 1: Experimental and InvestigativeScience; Art Attainment Target 1: Investigating and Making. If these areasof learning matter, as the National Curriculum Orders proclaim, they mustbe assessed and assessed appropriately. Assessing all desired outcomesin the National Curriculum will involve external testing and internal teacherassessments; pencil and paper and practical tasks; demonstrations andcoursework assessments. The findings of those varied assessmentsshould be used to influence teaching and learning; to describe or accreditindividual performance, and for school and system accountability. Thealternative is a drift from the official National Curriculum to a de factoNational Curriculum, which is set not by statute but by the practicalpressures of assessment.

If schools are to make serious attempts to develop and assess creativedevelopment, they will need guidance in developing appropriate methodsand criteria. There is a considerable literature, and a good deal of researchexpertise, in the assessment of creative capacities and achievement.Some of this research is focused on particular disciplines, some on moregeneral processes. As part of its role in supporting curriculumdevelopment, the QCA is well placed to provide guidance to schoolsbased on an independent review of international experience in theassessment of creativity.

By trying to use summative forms of assessment for all purposes, theeducation system downgrades the importance of formative assessment.Yet formative assessment, properly done, has been shown to promotehigher standards of achievement. Formative assessment is particularlyimportant in supporting creative teaching and learning. The findings from areview of over 250 separate studies of the link between assessment andlearning, which was conducted by Professor Paul Black and Dr. DylanWilliam (1998) of King's College London, give a clear message: thatinitiatives designed to enhance the effectiveness of the way assessment isused in the classroom to promote learning can raise student achievementby the equivalent of between one or two grades at GCSE for an individual

and, for England as a whole, they would have raised the country'sposition in the recent Third International Mathematics and Science Studyfrom the middle of the 41 countries involved to the top five. The gain forlower-achieving students is likely to be even more substantial. To beeffective, formative assessment must conform to four principles:

o it must be built into the design of the teaching programme as anintegral element rather than added on to it;

o pupils should be actively involved in the processes of assessmentand contribute to them;

O it must be focused on the development of each individual: i.e., itmust be criterion referenced rather than norm referenced;


0 the evidence it provides must be acted on if teaching is to be tunedto the range of pupils' individual developments.

Summative and formative assessment both have essential roles inencouraging a wide range of teaching and learning; in improving the quality of

achievement; and in ensuring a healthy balance between factual knowledge

and more open-ended styles of learning, all of which are necessary to creative

and cultural education. Achieving a greater role for formative assessment,

carried out by teachers with proper moderation, would do much to increase

curricular and subject flexibility; and to reinstate the proper importance ofareas of the curriculum such as the arts and humanities. It would emphasisethe necessity of inquiry, questioning and experimentation in all areas of thecurriculum, and enhance the professionalism and accountability of teachers. It

would reduce curricular prescription and overload. It would encourage and

enable teachers to devise their own routes to agreed goals and call them toaccount on the basis of how effectively they achieve them, rather than on the

fine detail of their methodology.

The amount of compulsory recording currently required of teachers isconsiderable. The DfEE has started to address this issue in the circularReducing the Bureaucratic Burden on Teachers (DfEE 1998e) and askedthe QCA to produce guidance to schools on the recording of assessmentinformation. Teachers' own diligence makes the recording of assessmentdata an even heavier load to bear. The teaching profession feels that it issometimes the amount of assessment and recording that causes subjectsto crystallise as separate entities, rather than the structure of the NationalCurriculum. In our view, teacher judgements should be trusted withouthaving to show every detail of their workings. Confident teachers shouldthen be allowed to take creative risks, without adding to the burden ofother teachers.

School Inspection

The national system of school inspection is an essential element ofnational educational provision. It makes fundamental contributions to theprocesses of:

o Public Accountability: to ensure that the enormous nationalinvestment in education is effective and gives value for money.

Raising Standards NACCCE Report

aQTeachers are caught upin a culture of diligence.The recording ofassessment data hasbecome a burdenbecause teachers do itso well.

DUCarol Adams, ChiefEducation Officer,Shropshire CountyEducation Office

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aQIt is the nature of thiskind of inspection thatteachers will over-pre-pare because the out-come has such highstakes.

John Bangs,Secretary, NationalUnion of Teachers

DU

Sq3

Transparency: to ensure that politicians and administrators; teachers,

head teachers and governors; pupils and students; parents and

guardians; local communities and the nation at large know the state ofthe education service, its strengths and weaknesses and what needsto be done to improve shortcomings and promote good practice.

The inspection system influences what schools do and how they do it.This happens as a result of what and how it inspects; on what and towhom it reports; and what happens as a result. In a very short time,OFSTED has established an effective national system of school inspectionthat has achieved a great deal and has much to commend it. Against thebackground of these achievements, we have been made aware repeatedlyof a number of specific concerns about the effects of the inspectionsystem on opportunities for creative and cultural education.

Flexibility

OFSTED's inspections are now delegated to teams of independentinspectors. These teams necessarily have varied experience in differentareas of the school curriculum. To ensure comparability and reliability inthe findings of its many inspection teams, OFSTED has had to develop aframework for inspection that can be applied in all circumstances. As acheck list for all that the school should consider about itself, theframework is better than average. But it has significant shortcomings inrelation to our concerns. OFSTED inspection has to do more than work toan a priori inspection framework. Given the inspectorate it has available,there are limitations on the flexibility that OFSTEDcan allow them ifreliability and credibility are not to suffer. Without flexibility, inspectionteams can become insensitive to the qualities and nuances of work inindividual schools. School inspections need to be nationally comparable,but in our view they must ease up somewhat to allow inspections toreflect particular strengths and characteristics, and to pick up early signsof promising developments or concerns. That might mean pre-inspectionwork, identifying what, if any, special characteristics of a school should bereflected in the make-up of the inspectionteam. A framework which is too rigid, orwhich is applied too rigidly will not allowthe unique characteristics of individualschools to emerge.


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Specialist Knowledge

We have heard many concerns about the ability of inspection teams toprovide authoritative judgements about specialist subjects, such as thearts, and about particular aspects of educational provision. Inspectionteams do not necessarily include inspectors who are specialists in all thesubjects taught in the school. In consequence it is difficult to gauge thesoundness of the judgements that are put forward. Specialist inspectorsare essential to ensure the reliability of inspection findings, and tocontribute in expert ways to raising standards in all areas of thecurriculum. The reduction in the number of HMI, and the kind of work thatthey now do within OFSTED, has removed the national teams of specialistHMI which were so well-informed about standards in their fields and ableto carry out national inspections of particular activities with a high degreeof authority. HMI have essential roles as expert judges of standards andquality, and in relation not only to school inspection, but in the broaderprocesses of policy inspection.

Policy Inspection

Inspectors can only comment on what is going on in the school at thetime of their visit. While in many ways this is wholly defensible, it doesmean that what is inspected can be unrepresentative. OFSTED has cometo have an important influence on national educational policy. Yet thenational programme of school inspection is not now designed to provide abroad base of evidence on how particular policy initiatives are working outin practice. The absence of such advice can create an information vacuumfor policy-makers. Inspection should be able to inform policy-makers,schools and teachers about the state of the education service so as topoint to what needs to be done by whom to speed good practice andminimise shortcomings. That requires more iterative inspections, carriedout by expert inspectors in relation to specific themes and issues. Aparticular case is the effect of the current emphasis on the corecurriculum on provision for non-core subjects, and the impact on thebroader curriculum of the literacy and numeracy hours.

The Whole Curriculum

Effective and appropriate systems of pupil assessment and of schoolinspection are vital to the quality of education and to raising standards. Wesee them as of special importance in raising standards in creative andcultural education and in making these functions of education as effectiveand accountable as the rest. The problems as we see them now derivefrom the fact that assessment and inspection are not primarily focused onthe kinds of development we are advocating. The effects of this are notneutral. The practical effect is to discourage and inhibit creativity inteachers and in students. For example, following the Secretary of State'sannouncement, suspending the programmes of study for art, music, PEand humanities in Key Stages 1 and 2, OFSTED wrote to primary schools

116Raising Standards NACCCE Report

asIn Nottinghamshire, outof 170 OFSTED reportsin 1996, only three pri-mary schools and nosecondary schoolreports mention dance.OFSTED inspectors donot always report oneverything happening inschools (eg. dance activ-

ities). Non-specialistinspectcis always com-ment positively on

dance classes wherethey are found, even if itis bad teaching. This isbecause they do notknow how to assessthem. The result is a lim-

ited development of

dance as an art form.Dance specialists should

inspect dance lessons.

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Nottinghamshire LocalEducation Authority

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to say that inspections would no longer take account of the extent towhich schools followed the National Curriculum in these subjects. Someprimary schools seem to have concluded that they need no longer spendmuch, if any, time on these subjects. Yet these processes are of vitalimportance from the earliest years of education if the Government'sintention to promote the creative abilities of all young people are to berealised at any stage of education. The general danger we see is that aninflexible inspection framework and a prescriptive system of assessmentcan combine to encourage schools to play safe. As one primary head hasput it to us, the tendency now is 'to keep your head above water and justbelow the parapet'.

Conclusion

Pupil assessment and school inspection have essential roles in raisingstandards throughout the school curriculum. Current priorities, methodsand criteria now need to be sophisticated to take account of the natureand roles of creative and cultural education in raising standards. Doing sowill help to create a virtuous circle in which the benefits of creative andcultural education will be more effectively realised by being more publiclyrecognised.

Recommendations

We recommend that:

i. All of the desired outcomes of the National Curriculum should beassessed in appropriate ways, including those that relate to creativeand cultural education. The results should all contribute to the profileof young people's achievements and of the school's performance.

ii. There should be a greater emphasis in schools on formativeassessment: ie. assessment that is intended to improve the day-to-day quality of teaching and learning.

iii. The DfEE should arrange to ease present pressures of assessment by:

a. reducing the detail required of schools in support of assessment;

b. training teachers to conduct formative and summativeassessments supported by a national sampling scheme.

iv. The QCA should:

a. collate existing knowledge and expertise in assessing children'screative development in each of the main areas of the curriculum,and issue pi-actical guidance to schools;

b. develop advice to teachers on approaches to formativeassessment, particularly in relation to creative teaching andlearning;

c. develop a system of national moderation of formative assessmentbased on appropriate methods of sampling.

116 Raising Standards NACCCE Report 117

v. The OFSTED framework for school inspection should be furtherdeveloped to take fuller account of creative and cultural educationand of the processes of teaching, learning and assessment itinvolves.

vi. OFSTED should develop its capacity to ensure that specialist areasof the curriculum, such as the arts, are inspected by specialists. Inparticular, there should be a greater number of specialist HMI inOFSTED to offer expert advice on specialist teaching, provision andstandards.

vii. On the basis of wide-ranging inspection, OFSTED should provide

the Government with the inspection-based information andprofessional advice it needs to develop and carry out its policies foreducation; to know how those policies are working out in practiceand ensure a constructive link between school and policy-relatedinspections.

viii. OFSTED should reaffirm its commitment to inspect all areas of thecurriculum, including the arts and humanities throughoutcompulsory education.

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-1, Raising Standards NACCCE Report 117

Part Three:

BeyoTZ Schoo,

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Good schools alone willnever be good enough

we need communi-ties that think different-ly, work differently andare even designed andbuilt differently. Suchcommunities wouldmake for a better, moreexciting world in whichliving, working, and

learning come togetheragain and recreatevibrant, self-sustainingcommunities. I wouldlove to live in such aworld.

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John Abbott 1997

aQIt is important that part-

nerships betweenschools, artists and gal-leries give access toand act as a catalyst forcreative learning foryoung people in theirtransition from schoolto further and highereducation and intoindependent life.

DD

Lindsey Fryer

©) Developing Partnerships

22®

&I)

Introduction

Partnerships between schools and outside organisations and individualsare essential to the kinds of educational development we are advocating.They are not additional luxuries. Such partnerships enrich and extend theexperiences of young people and support teaching and training. In bothways they can help directly to raise standards of achievement. In thischapter we identify the benefits of partnerships and the conditions forsuccessful development.

The Opportunity

The National Curriculum was built on the assumption of what schools canachieve with the help of outside providers, including LEA support. Schoolscannot achieve the required standards on their own. It is crucial to build onexisting good practice to develop a national strategy of partnerships tosupport schools. Every child should have a basic entitlement to a range ofpartnership activities in school. This should not depend only ongeographical location or the personal enthusiasms of individual teachers.The work of schools can be supported by a wide network of otherpartners and providers, including community groups, business, industry,and cultural organisations. By 'cultural organisations' we mean museumsof all kinds for the arts, sciences and humanities galleries, performingarts organisations, sports organisations and other subject-based or youthorganisations. There is room for a huge range of partnerships and jointprojects with such organisations. Some offer one-off events to schools;others provide long-term projects or residencies. Over the last twentyyears there has been an extraordinary expansion in education work bycultural organisations.

At the beginning of this report, we noted the rapid growth in the UK of thecreative industries. There is a second area of development which is ofequal significance. This is the work of artists and of other creativeorganisations in education and the community. This sector includes artist-in-residence schemes, children's theatre; theatre in education, educationliaison programmes of major cultural organisations and community-ledprojects which are based in the arts and cultural activities. The UK has aleading international reputation for such work and its significance is nowincreasingly recognised though research and policy. The creative industriesare often quoted in support of the economic case of the arts. This broaderfield of community education and outreach work is evidence of its socialsignificance. We attach great importance to these programmes andinitiatives and see vital roles for them in achieving the objectives set out inthis report.

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120 Developing Partnerships NACCCE Report

Lige OptionsOpt for Art is the flagship project of Engage, the National Association forGallery Education. Whereas art galleries had succeeded in attractinglarge numbers of primary schools to visit exhibitions, very few pupils atKey Stage 3 were visiting galleries as an organised part of the curriculumin secondary schools. A pilot scheme was organised in eight schools in1995 that aimed to give pupils in Year 9 an inspirational experience of artto coincide with discussions they would be having with parents andteachers about their option choices at Key Stage 4 and GCSE. Theexperience of art was to include a visit to an art gallery and work with anartist. Between 1998 and 2000 it will work with pupils in Year 8 and Year9 in ninety schools. The project hopes to generate special, hopefullyinspirational, experiences of real art and artists outside of school and, indoing so, promote art as a valuable life option for young teenagers.Possibly as many as 18,000 pupils will benefit directly from Opt for Artin the current phase of work. The project has thus far been developed inWales, but is now being extended to England.

Information provided by Opt for Art

The roles of schools in partnerships are twofold. First, the ethos of theschool itself can be enormously enriched through the involvement of thewider community. Second, schools' own resources can be of tremendousbenefitto the community at large. Schools have much to offer in terms ofthe experience and expertise of staff and their own specialist facilities andresources, including laboratories, sports halls and performing arts facilities.Creative schools can contribute significantly to the social and economicdevelopment of the whole community. Significant sums of public money areinvested in schools. The return on this investment is less than it might bebecause many schools are closed more than they are open. Creativepartnerships between school, business and the wider community are alreadytaking place in many areas. We need to identify and build on existing goodpractice to develop a national strategy of creative partnerships.

121Developing Partnerships NACCCE Report

aQ

The wealth and exper-tise and well-foundedperspectives availablewithin the communityand beyond can be har-nessed for education.Conversely, the wealthof expertise and well-founded perspectivesin schools can be madeavailable to the widercommunity. As a result,new syntheses of ideasand experiences cantake place.

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asI used to think thattoday's art was just anexcuse not to do anyserious work, but now Ibelieve it forces theperson to try to under-stand by using theirimagination.

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Pupil after Opt for Artproject

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&13

The Factory of DreamsFrench fire artist and pyrotechnician Christophe Berthonneay

collaborated with Stockwell Park School and five London artists to createa pyrotechnical theatre piece in Brockwell Park, Brixton for 5,000 people,based around the dreams and aspirations of 120 14-year-olds. This is aninner city school which has been under threat of closure on threeoccasions. It was a five-month arts education project involving all of Year9 and crossing five disciplines: design and technology, food science,textiles, visual arts and music. Work was integrated into Key Stage 3 ofthe National Curriculum. Activities included ranged from carnival designto music technology; giant sculpture to physical theatre. The project hadparticular benefits for the school and staff. The profiles of individualdepartments were increased, whilst for the first time the benefits ofcross-departmental work have been embraced and promoted. Thechildren also benefited tremendously from the project. For many pupilsThe Factory of Dreams was a personal journey. Some discoveredcreative talents which they intend to develop further. Other benefitedfrom new working patterns. The Factory of Dreams encouragedindividuals to explore their own imaginations and aspirations. At thesame time it brought home the challenges and potential of teamwork,and enhanced pupils' communication skills. Headteacher Tony La Mothedescribed the outcome of the project as follows: "Creativity was anoutcome, but along the way there were opportunities to developlistening skills, an appreciation for individual talent, teamwork, planningand organisational skills, communication skills and the opportunity toexperience major success in their young lives.

Information supplied by the London International Festival of Theatre(LIFT)

The Benefits of Partnerships

Partnerships offer different, but mutual benefits to schools, including staffand pupils, and to everyone they work with.

Benefits to Schools

Curriculum Development

Effective partnerships can:

raise school morale by bringing staff together to work to sharedgoals, promoting collaboration in curriculum development;

O promote and develop innovative working methods;

O provide an opportunity for cross-curricular links throughout theschool which demonstrate that each specialism can affect thedevelopment of others;


o provide opportunities for issue-based work which offers a broaderperspective on current affairs and on cultural development; forexample equal opportunities, gender, and cultural diversity.

The School in the Community

Effective partnerships can:

o strengthen the school's relationship with its community throughsharing skills, expertise and resources;

o strengthen the relationships between schools in the same areathrough cross-phase or cross-disciplinary projects;

o raise the profile of the school and the part it plays in the social,cultural and economic life within the community;

o develop the school itself as a community by building strong andsupportive relationships between students, staff, parents and

governors.

The 'Poor' School's Creative Professionals in Residence SchemeThe National School's Playwright Commissioning Group consists oftwenty schools around the country pulling resources together tocommission a leading playwright and composer to write a play suitablefor these schools to perform with music, adaptable to different musicaltalents and the different circumstances of the schools. By collaboratingand contributing £1000 a year for two years, the schools have exclusiverights to a play and the music that they have commissionedthemselves, and contributed to, through a series of cluster workshopswith teachers, students and the writer and composer. Local andregional theatres give support in kind. The play is published. Thisscheme could be easily replicated by others and in other disciplines.

Information provided by Hampstead School, London

Staff Development

Effective partnerships can help teachers to:

O learn new skills and techniques for use in the classroom;

o develop professional relationships with a wide variety of other skilledadults beyond the school;

O develop and promote a wider understanding of their subject fromdifferent social and cultural perspectives;

o deepen their understanding of pupils in different social and cultural

situations;


BB

School life is enrichedby working with theseartists, who are practis-ing in their own right,and bring a differentfocus. Expectations areraised and they bringtremendous energy tothe work.

DD

Kathy Halpenny,Headteacher, BlueGate Fields JuniorSchool

BBThe project was veryproductive and I have

been trying to work in asimilar way giving

short bursts of qualityteaching time.

Ruth Aplin, RhylSchool, Camden

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aQWhen I first had a try,my very first one, I wasrubbish, but I got a lotbetter. Thank you forshowing me I can playa xylophone.

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Tracy at All Souls'School

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O develop their understanding of different disciplines and how theycan interact with each other;

o try out new teaching strategies.

Science FairRobert Smyth School, at Market Harborough, held a Science Fair in1997 it developed into a large event. The fair was described in thelocal paper, which carried a four-page supplement. This was sponsoredby advertising from a number of local companies, many with a scientificbasis to their operations. After seeing it in the paper, companies thatdid not take part at the first fair immediately asked to sign up for thenext one in 1998. Judith Green, a teacher at the school and one of theprime movers for the fairs writes: "What a week! You could buyminerals or a gyroscope in the science shop, you might bump intoMarie Curie or Isaac Newton, you could make slime or a hot air balloon,visit the science road show, try on the fire brigade's full protectiveclothing or have a go at particle physics with Leicester University. As ifall that wasn't enough, how about a visit to the Science Museum, an in-house lecture on Light and Luminosity full of spectaculardemonstrations and the double-page pull-out in the local paper?"

Information obtained from the August 1997 issue of Prism.

For Pupils

Effective partnerships can help pupils to:

O develop their understanding of the wider community, and their roleswithin it;

O develop skills and techniques for creative work through contact withskilled adults;

O deepen their understanding of different disciplines and their practicalapplication;

o develop their understanding of the key skills and how they apply to'real-life' situations;

O deepen their understanding of, and practical experience, in thecreative process, including imaginative thought, problem-solving,research, technical skills, editing, risk-taking, reflection, presentationand dialogue;

O experience working as part of a team;

build self-confidence and self-esteem in learning new skills, meetingnew people, sharing ideas;

increase confidence and expertise in making judgements andevaluating experience with a wider range of people.


Benefits for Outside Partners

There are benefits, too, for the organisations and individuals who workwith schools in these ways. These include:

o sharing skills and expertise with young people and adults in a varietyof new contexts;

o developing their own knowledge and skills;

o developing and reflecting on their own work and methods in newcontexts;

o developing communication and teaching skills with young peopleand adults;

o finding stimulation for their own creative work through partnershipswith other professionals and young people;

o working collaboratively with professionals in other disciplines.

The Very YoungA team of artists and twenty-six Birmingham nursery schools havecollaborated to produce original works of public art. This has created anexciting trail of interactive artwork around the city. Each artwork is theresult of the skill of an artist in incorporating ideas of children, teachers,parents and community into works that engage the school but can alsobe enjoyed by the general public. An annual open day will be held onthe second Friday in July each year to view these artworks, but workscan also be viewed individually.

Information provided by Birmingham City Council Education Department

improving Partnerships

There are five factors that affect the quality of partnerships:

o status and priorities;

information and liaison;

o quality assurance;

t 125Developing Partnerships NACCCE Report

Ll

The players have foundthis work not onlyimmensely stimulating,but also beneficial totheir playing in generalconcert work.

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David Pickard,General Manager,Orchestra of the Ageof Enlightenment

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asThe year 2000 is 'TheYear of the Artist'. Whynot use it as an oppor-tunity to focus on theimportance of creativeand cultural educationthrough partnershipwith other schooldepartments and otherorganisations in thecommunity?

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O resources;

O training and development.

We discuss the first three of these here. We look at resources in ChapterNine and training in Chapter Ten.

Status and Priorities

Developing creative partnerships does not yet have high enough priority inmany schools. Some have many contacts with outside organisations:others have little or none. Successful partnerships are often the result ofthe personal enthusiasms of particular staff. According to a MORI surveyin secondary schools in 1995 (O'Brian 1996), in the five months prior tothe survey:

O 50 per cent of the students had not been to a play;

O 80 per cent had not been to a museum, gallery or concert;

O fewer than one in ten had been to a dance or opera performance;

O of those who had the opportunity to go, 97 per cent enjoyed it.

All children are entitled to access to the opportunities provided by workingwith external professionals during each year of formal schooling. Schoolsshould be required to make explicit provision for such opportunities in theirdevelopment plans, and to allocate appropriate resources. Schools couldalso try to ensure that a member of the governing body is responsible forpolicies relating to creative and cultural education, and for ensuring that allchildren have such opportunities. One way of raising status is to give thiswork public recognition. The QCA, RSA, Arts Council, DCMS and othersare developing criteria for a possible Artsmark scheme for schools and forarts organisations as a way of celebrating good practice and raising thestatus of arts education work. Schools or cultural organisations would beawarded the Artsmark for arts education work that is of high importanceand integral to the rest of their work. This scheme has a lot to recommendit and should be taken forward.

° A 126


Opporitroffidos for AllIn May 1999, Warwickshire Education Authority launched theWarwickshire Education Arts Action Zone. The roles of the Zone are:

to co-ordinate, support and publicise existing good practice, basedon the themes of creativity, additionality and inclusiveness;

research and development to promote and extend good practice,celebrate and spread success, defend and enhance the arts in thecurriculum in their own right as creative contributors to otherareas and subjects;

to inspire a programme of extended continuing professionaldevelopment;

to link with the creative ideas and aspirations of other phases ineducation, other agencies in public service, and other institutions;

to enhance extra-curricular opportunities in the arts;

to promote capital investment in the arts;

to seek partnership funding for the arts in the authority;

to promote partnerships in the management of the project.

A Year 5 pupil will receive a badge and certificate as a member of theZone, and an Arts Action Pack, based on the reading programme agreedbetween the Education and Library services, and a programme ofactivities, including community outreach and networking opportunities.

Parents will learn about the Zone's work through leaflets, exhibitionsand performances, county-scale publicised events, and through after-school clubs.

Information provided by Warwickshire Education Arts Action Zone

Information and Liaison

Effective communication is essential to successful partnerships to ensurethat the needs and the expertise of different partners are compatible. Theinterests of the various partners are mutual but not always identical. Eachpartner has different contributions to make and each will gain differently interms of skills, understanding and experience. The success of partnershipslies as much in the quality of preparation and follow-up work as in the eventitself. Consequently, partnership projects must include enough time forresearch, planning, evaluation and dissemination. Young people too shouldbe involved in planning and preparation. They have much to gain through

this process, and much to give.

Many schools are simply not aware of the opportunities available. Anational audit of current standards in, and provision for, creative andcultural education in schools is needed to provide a clear picture of


asTIE is valuable in that it

is a process that hap-pens with children . . .

not for them. The expe-rience often creates asort of tension whichtakes the child closeenough to the precipiceso that it catches aglimpse of the reality ofthe situation, but at alevel with which it cancope. A very importantpart in the process ofbringing the inner childout. That is education.

Bryn Davies,Secretary of thePowys Association ofPrimary Schools

DU

asThe organisation AXIShas compiled a nationalcentral registry of con-temporary visual artistsand craftspeople,which is available freeof charge and stored ona computer database.

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127

available opportunities and of specific gaps in provision. This audit shouldidentify strengths and weaknesses in current provision, in each area of thecurriculum; in different areas of the country; and in the existing patterns ofpartnership between schools and other providers. It should be updated ona bi-annual basis to provide a comprehensive and accumulating body ofevidence to inform future policy-making. The information should bedistributed on the National Grid for Learning. This could provide the basisfor a regional register of opportunities to help providers and users in allsectors to make informed judgements and have clear expectations.

Young Teo, LivorpoollWhether a museum sees itself as an agent in social regeneration or as aservice provider, working with young people can pay great dividends. Itinstitutes a more responsive and outward-looking approach; broadens

understanding of the contemporary significance of collections andexhibitions; and sustains the awareness of the necessity of meeting theneeds and interests of a new audience. In 1993 the Tate Gallery,

Liverpool formed a consultative group made up of young people. Thisgroup became known as Young Tate and it helps to advise on ways ofmaking the gallery and its exhibitions more accessible to young people.Apart from its advisory role, one of the strengths of the Young Tateprogramme is the development of peer education. Young Tate membersare paid a fee for leading workshops and projects for other young peoplein the gallery. They are introduced to the display or exhibition at planning

meetings and then presented with ideas for the workshop which havebeen drafted in advance by the artist facilitator and the Young Tate co-ordinator. Further ideas and suggestions are then explored. At present,training for this peer-led work is informal, but work is underway toestablish a more formal training programme, drawing on models of goodpractice within the voluntary and statutory youth services.

Information provided by The Museums Association

This should cover all areas of the curriculum and a variety of schemes, including

one-off performances and workshops to longer-term projects and residencies.

The register could be co-ordinated by the proposed Regional Cultural Agencies

or by the Regional Arts Boards. One possible model is as follows:

O Outside organisations, individuals or performing groups apply to beput on the register and pay a fee to do so.

For registration, each group or individual would put on a performance,

project or session to a volunteer host school, to be assessed by a panel

of the headteachers, students, teachers and the local community. The

school would receive the performance, project or session free.

O The panels would assess the event according to agreed criteria andproduce a short report and recommendation.

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O The panel could be guided in these criteria by a regional co-ordinator.

O Groups or individuals that are accepted would be included on the annual

register which is sent to all schools and onto a database on the internet.

o Groups or individuals would be reviewed every two years by adifferent panel.

o All schools would be asked to evaluate the project when they have avisit to their school. These evaluations would be shared with thegroups and individuals.

O All groups and individuals would be expected to provide preparatoryand follow-up materials.

Quality Assurance and Evaluation

Appropriate quality assurance systems for visiting professionals and culturalorganisations are essential. The work of creative partnerships is often notthoroughly evaluated because of lack of time, funding or expertise within arts

organisations and schools. The Arts Council of England has commissioned aresearch study to identify effective approaches to evaluation. The aim is toproduce an innovative, accessible and flexible evaluation resource for use by

arts organisations, individual artists, youth, education and community sectors.

Once this has been developed, training courses will be provided on the useof the evaluation materials. This study could make a valuable contribution to

improving creative and cultural education through partnerships. Agreedquality criteria are needed so that all partners have clear expectations, andinformed judgements can be made to improve practice. The DCMS hasestablished a new unit to evaluate and monitor educational provision byfunded organisations. We welcome this development and the seriouscommitment to education within the DCMS that it suggests.

The Roles of Different Partners

In its Comprehensive Spending Review the DCMS proposed bringingtogether regional arts boards, arts agencies, local authorities, businessconcerns and other interested parties, in regional cultural partnerships. Itwould be possible to include local sub-structures within such partnershipsto include, among others, groups of schools and LEAs, arts agencies,artists and local businesses. Each partner would have something to gainand something to give: continued active involvement with schools forLEAs; the involvement of arts and education in community developmentand good relations for businesses. Each partner could contribute fundingand other resources, and the total activity would contribute to the vitalityof education and cultural life in the locality. More importantly, suchpartnerships might begin to fill the gap that resulted from the decline inthe involvement of local authorities in such activities. New workingpartnerships are now needed involving schools, higher and furthereducation, local education authorities, local authorities more widely,


BBPartnerships are poten-tially one of the mostpowerful tools in secur-ing the development ofcreativity in education.

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R53

cultural organisations and local commerce. Such partnerships would becharacterised by a mixture of altruism and self-interest that could ensurethe development of activities that, to be done well, need to involve morethan single or groups of schools.

inyoiving the Community

Based in Ulverston, Cumbria for over twenty years, Welfare StateInternational have been developing a close relationship with theircommunity and local schools, so that now the creativity of children,artists and townspeople are closely integrated. For example, the annualLantern Festival each September involves scores of families who makeelaborate sculptural candlelit lanterns with willow and tissue paper. TheSir John Barrow primary school makes eight gift lanterns for the town'sunsung heroines and heroes and the art teacher at the Victoria Highschool can incorporate innovative lanterns into an A level Design andTechnology course. The May Flag Festival is designed by primary school

children. They invent unconventional and freely drawn images for townshops (such as sticky cakes for the bakers and wriggling worms for theanglers, or even lipstick on the collar for a gent's outfitters). Workingwith artists, these are sewn onto large silk banners, making Ulverston ajoyous patchwork on the celebration scale between Matisse and Beano.Following a million arts lottery award, WSI artists have refurbishedtheir Victorian school headquarters to create 'Lanternhouse', a trainingcentre in Ulverston. Here, artists, teachers and administrators mayescape to recharge. Creativity is encouraged in a non-competitive andnon-institutional shelter. People from many disciplines connect overconversation and coffee, and research lateral solutions. If you want tomake a musical weather vane or a sand painting of giant dragon flies,sing, for the first time, play drums or mythologise the quicksands ofMorecambe Bay, Lanternhouse is the place. During the building process,primary school children created a 30-metre painted hoarding round thesite. Like a contemporary cartoon Bayeaux tapestry, this depicted wildstreet bands on stilts and even levitating welders. Children are central toLanternhouse. Provision has been made for a creche and for astorytelling garden, and an IT and communications studio where the fastforward generation can teach adults how to go electronic.

John Fox, Welfare State International

Central Government

The creative and cultural development of young people is of concern toseveral government departments. The DfEE, DCMS, Home Office, theSocial Exclusion Unit and other Government departments or agencies allinclude in their remit cultural activities by young people. The Departmentfor Trade and Industry has a particular role to play, in collaboration with theDfEE, in promoting the creative and cultural development of young people


through science activities. There is a need for greater co-ordinationbetween these departments in order to promote a more coherent patternof provision, and a more strategic use of existing resources.

Local Education Authorities

Since the introduction of local management at schools (LMS) the roles andservices provided by LEAs have been greatly reduced. We look in moredetail at the implications of this in Chapter Nine. But local educationauthorities still have statutory duties to ensure that schools in their areameet the terms and requirements of the National Curriculum and to improvestandards and quality in education. Schools can not achieve the required

standards on their own, and need to work in partnership with a variety ofagencies, organisations and individuals. LEA advisory services are well-

placed to facilitate dissemination of effective practice between schools.They have a key role as catalysts in establishing partnerships andencouraging relationships between schools and outside organisations andindividuals. The future roles of LEAs will relate to the new settlement of theSchool Standards and Framework Act. In it, LEAs are charged with the newgeneral duty 'to promote high standards'. We are arguing for an inclusivedefinition of high standards to include creative and cultural education.

The Youth Service

In recent years, both the voluntary and statutory youth service sectorshave become increasingly active in promoting and supporting creative andcultural programmes for young people. These are important areas ofdevelopment. The Youth Service reaches out to young people beyond theformal education sector in a wide range of different contexts: throughyouth clubs, community projects, festivals and visits. In many instancesthey do this in partnership with a variety of funding and organisationalpartners. Young people themselves are often closely involved in theplanning and organisation of events and initiatives. We see great value inthe work of the Youth Service and commend the growing variety ofinitiatives of partnerships that are now developing. Inevitably, provision isuneven nationally. The need now is to disseminate good practice, and toaddress related issues of training. We return to this issue in Chapter Ten.

131Developing Partnerships NACCCE Report 131

aQ

Science centres acrossthe globe aim to mixentertainment and edu-cation. The messagesbehind all of them are'science is fun' com-bined with 'discover .aprinciple of science andhow it relates to every-day life'.

DU

Talking Points,Chemistry in Britain,October 1995

aQ

The 2,500 museums inthe United Kingdom area resource for publiclearning of exceptionaleducational, social, eco-nomic and spiritualvalue a commonwealth. This wealth isheld in trust by muse-ums for the publicgood, not just for ourown time and societybut for all times andpeople.

DU

David Anderson,Head of Education atthe Victoria and AlbertMuseum, London

Joint Arts PolicyThe councils of Bournemouth, Poole and Christchurch have joinedtogether to produce the first arts policy for the whole conurbation. Itgrew out of the strong conviction that the cultural needs and aspirationsof residents and visitors to Bournemouth, Poole and Christchurch couldbest be met by the councils working together. One of the aims of thepolicy is to promote the role of the arts in formal and informal educationwith subsidiary aims such as:

to promote education and outreach work as an integral part ofprogramming by all arts deliverers and as an important tool foraudience development;

to raise the quality of arts education in the conurbation throughrecognising and promoting best practice;

to collaborate with education services to provide arts training andresources.

The aims and objective of the Joint Arts Policy are ambitious butachievable. It provides a clear framework for the development of thearts and gives a strong incentive for a collective approach, whileallowing the councils to work in individual ways where appropriate.

Information provided by the councils of Bournemouth,Poole and Christchurch

Cultural Organisations

We noted earlier the extraordinary growth of interest in culturalorganisations over the past twenty years or so in developing work witheducation. In recent years, national and regional funding policies in the artshave strongly encouraged this development. According to a survey by theArts Council of England (Hogarth et al 1997), 78 per cent of all publiclyfunded arts organisations are involved with education work and 63 percent have a dedicated education officer. There is a wide variety of modelsof organisation and of types of practice. These range from dedicated artseducation organisations, such as theatre-in-education, to the appointmentof a single education officer to an established arts organisation. At besteducation is fully integrated into the life and work of arts organisations,and is seen as a core function. At worst it is a reluctant add-on: a minimalprovision to meet funding requirements. As often education is seen asimportant but peripheral to the main business of the organisation.

The term education itself is sometimes unhelpful in these contexts. It cancarry with it connotations of worthiness and civic duty which feels at oddsfor some artists with the excitement that drives them. This is a pity and ifthe term education itself prompts a listless commitment it should bedropped. The fact is that arts organisations do not need two separatepolicies an artistic"policy and an educational policy. They need one: a

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co-ordinated and unified cultural policy. That is, they need to find ways toengage people in their work, to deepen their understanding of it; and topromote the creative response and potential of others. This is whateducation programmes should be for. These should be seen as corefunctions, not extras, whatever they are called.

As partners in the creative and cultural development of young people, artsorganisations that are publicly funded should integrate their artistic andeducational policies. The policy and development plan should clearly statewhat the relationships are between artists, artistic programmes, formaland informal education work with and for young people. The plan shouldalso set targets for developing these relationships and for thedevelopment of partnerships with others including schools and colleges,youth and community agencies, training agencies and funding partners inthe locality. All organisations in receipt of public funds, whatever thesource, should be held accountable to deliver their educational objectives.

Sports clubs and organisations have important roles in the creative andcultural education of young people. The diversity and range of physicalactivity and sport provides pupils with many opportunities to develop avariety of skills. PE and sport are inextricably linked to cultural values and

traditions. Sport also provides challenging opportunities for pupils to developtheir problem-solving abilities, creative thinking, social skills, and physical

prowess as part of their continued development. Sport clubs andorganisations can support schools in promoting these particular skills in

children and should be regarded as important allies in promoting the creativeand cultural development of all young people in schools.

Arts Education Agencies

With the contraction of local education authorities, a number of alternativesystems of provision and support for the arts in schools has begun toemerge. For example, a wide range of arts education agencies areworking with schools around the country. They operate through a range ofdifferent types of partnerships between national funding bodies, regionalarts boards, city council arts development units, LEAs, schools and collegecourses, artist and arts organisations. They vary greatly in theirrequirements for quality assurance and training and in the quality ofservices they provide themselves. It is important that the DCMS and DfEEshould both monitor and support the development of these agenciesthrough combined funding strategies, quality assurance and evaluationguidelines in order to secure quality work in schools, resource material forschools, the dissemination of good practice, project development and thetraining of practitioners to work in schools.

Business and Industry

Business and industry are valuable resources to education in a variety ofways. There is a wealth of experience and expertise within business.

11 1.33Developing Partnerships NACCCE Report

asPromoting the 'publicunderstanding of sci-

ence' has become bigbusiness. Across theworld traditional sci-

ence museums are

reducing their historiccuratorial function andvying for custom withthe newer science cen-tres set up to engagepaying members of thepublic in a variety ofinvestigative and

'hands-on' science-based activities.


DD

DDThe arts are important in

education because theygive young people

access to the ideas, val-ues and beliefs of others

and contribute to all

aspects of a child'sdevelopment. They have

been shown to feed thecreative imagination and

improve cognitive andacademic skills.

DD

Create the Future, theLabour Party's pre-election culturalmanifesto

133

aQIt is only through busi-ness partnerships thateducation can keep upwith the developmentof new technologies.

DU

Dame Tamsyn lmison

Industry must be encouraged to share this through active engagement ineducation. This investment will be mutually beneficial. Ways of involvingbusiness in education include:

O experts from business and industry should be encouraged to visitschools and share their experience of the professional world withchildren and teachers;

O work experience placements could be provided for pupils and teachers;

O business can become involved in mentoring programmes at schools;

O members of staff from business can undertake placements in schools;

O business can share equipment with schools or to donate old stock;

cash donations can be made to support specific creative projects ofschools.

The focus here is not only on big businesses, but on medium and small

businesses that could donate an hour a week to link with schools. Successful

partnerships exist between some schools and private ICT firms. The firms

provide the schools with up-to-date ICT equipment and training for teachers in

return for the use of the facilities out of school hours to provide adult courses.

The organisation Arts and Business (formerly ABSA) has long experienceof promoting partnerships between business and the arts in all of theirforms. It has now established the Creative Forum for Culture and theEconomy. This is an initiative which brings together key figures from someof the UK's leading businesses to explore ways of unlocking the latentcreativity in British business. The forum in particular, and Arts andBusiness more generally, has important roles in taking forward thearguments and recommendations of this report in developing the roles ofbusiness partnerships in creative and cultural education.

Visiting Professionals

Visiting professionals in all subject areas should be encouraged to visitschools to share their experience of the world of work and to enthusechildren about their chosen fields. There are many examples ofprofessional artists visiting schools. These are important but people frommany other areas of work have much to offer too. The joint DCMS/DfEEinitiative, the Sporting Ambassadors Scheme, was successfully pilotedduring 1997-98 and is now being introduced to all the English SportsCouncil regions. The scheme provides opportunities for successful sportsmen and women of all ages to visit schools to enthuse young peopleabout the benefits of physical activity and a healthy lifestyle. Wecommend this project and hope that it will be extended to other areas ofcreative and cultural education.


Aiming HighIn 1995, Stoke-on-Trent Community Partnership initiated a major project toraise the aspirations and ambitions of young people in North Staffordshire.The project, called Aiming High, has involved over 5,000 students eachyear in a series of inspirational activities with the hope of encouragingthem to achieve their full potential, whatever their abilities. The projecttargets Year 9 students and involves approximately thirty schools in across-curricular programme of events, centred around talks by inspirational

speakers and a combined music and visual arts project in association withthe BBC Philharmonic Orchestra. Previous speakers in the project hayeincluded Helen Sharman, Britain's first astronaut, astronomer Patrick

Moore, polar explorer Dr. Mike Stroud, explorer and author Benedict Allen,and Britain's first woman to climb Mount Everest, Rebecca Stephens. The

aim of these speakers is to enthuse and motivate young people to achievetheir ambitions whatever their background or social upbringing. The raisingof personal aspirations is considered to be of major importance inachieving a significant change to the social and cultural environment ofNorth Staffordshire, thus contributing to long-term economic regenerationin an area that has suffered from a sharp decline in traditional industry andlow staying-on rates in schools. Furthermore, bringing together local

businesses and schools in a major campaign to raise awareness of thepotential of young people, is aimed towards the restoration of a new pridein the city of Stoke-on-Trent.

Information provided by the BBC Philharmonic Orchestra

The National Endowment for Science, Technology and the Arts (NESTA)was established by the Department for Culture, Media and Sport in 1998.It will be involved in three broad activities:

a. helping talented individuals in the fields of science, technology andthe arts to achieve their full potential;

b. helping turn inventions and ideas into products and services whichcan be effectively exploited;

c. contributing to public knowledge and awareness of science,technology and the arts.

In meeting the first objective, NESTA is about to introduce a fellowshipprogramme, involving mentoring. It is also considering further research onapproaches to mentoring. The introduction of co-ordinated mentoringprogrammes to young people in schools could have tremendous benefits.We strongly endorse NESTA's intentions in these fields. There is greatscope to develop a mentoring programme in particular in association withother relevant agencies including the QCA.

1.35Developing Partnerships NACCCE Report

aQ100 Black Men is anorganisation of black

businessmen in theBirmingham area whogo into schools to actas mentors to blackyouths with behaviouralproblems. The opportu-nity for these childrento identify with suc-cessful black role mod-els help improve theirattitudes, behaviourand expectations in life.

DD

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Sasccessfull MenV.oring

While some primary schools see mentoring as the routine responsibilityof the class teacher and, quite rightly, as an aspect of pastoral care,others have developed specific schemes. Two schools, for example, havedeveloped paired reading schemes, one using adults from localbusinesses as part of a business partnership project, the other usingpupils from local secondary schools. The latter was particularly successfulbecause it brought white British teenagers into contact with Pakistanipupils in an area where racial tensions are sometimes high. Clearly thequality of mentoring is important. In both cases the mentors were trainedand there were measurable gains in progress in the pupils' reading skills.

Successful mentoring schemes in secondary schools include those runby education business partnerships and the mentoring of younger pupilsby their older peers. In one school sixth formers support pupils recentlyarrived from overseas needing help with English. This is particularlyeffective where pupils share the same first language. In oneBangladeshi school the mentoring of Year 11 pupils was particularlysuccessful. This school, where there had been considerableunderachievement, made clear to groups of pupils the high but realisticexpectations held for them, backed by a programme of interviews witha member of the senior management team or form tutor.

Information from Ofsted 1999 a

Specialist Schools

We support the Government's initiative to identify specialist schools ascentres of excellence in the specialities of arts, languages, technology orsport. Investment should be made in these centres to ensure balanceacross each LEA. The expertise, knowledge and facilities at specialistschools should also be made available to other schools in the area.Specialist schools already have a role to play in sharing their expertise withtheir local communities; this could be co-ordinated further by LEAs andthe DfEE on regional and national levels.

Further and Higher Education

There is a huge wealth of expertise in further and higher education in alldisciplines. Successful links can be forged between schools and furtherand higher education to support the work of the National Curriculum, toprovide teacher training and to enrich opportunities for creative and culturaleducation. Many good examples of such links already exist. The NationalGrid for Learning also offers opportunities to increase access to suchpartnerships, as it is less resource-intensive. Virtual links should not replacereal visits, but they can be used as an additional partnership opportunity.

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Professional Associations

Many professional teacher and subject associations play key roles in

supporting and enriching the school curriculum and teacher training across arange of disciplines. In art and design, for example, the National Society forEducation in Art and Design is the largest provider of continuing professional

development to teachers. We strongly encourage such initiatives.Professional teacher associations and subject associations also have key

roles in disseminating this report and in promoting creative and cultural

development through the partnerships we recommend.

Parents

Partnerships should be created with parents by encouraging them toshare their different talents, knowledge and expertise with the school.Children need to relate their learning to the adult world in terms of workand leisure opportunities. Parents can help children to make these linksby sharing information and experience in a structured way. Parents couldalso help teachers with pastoral care duties. Children can benefitimmensely by involving parents more actively in their education. Schoolscould hold open weeks for parents to share their experience of the adult

.world and to help them understand daily school life. This serves toeducate parents about the lives of their children and the processes oftheir education. Parents who are involved in the education of theirchildren in a practical way will be better able to support the creative andartistic activities of their children.

Parents as PartnersAs part of an initiative to promote careers education among people fromvarying ethnic backgrounds in Manchester, the Progress Trust publicisescareer opportunities at public events in a variety of locations. ActionFactory conducted interviews at a careers convention at theManchester G-Mex centre in October 1997 which were edited to createa resource for use with parents from Asian, African-Caribbean andChinese communities. As it is considered that the biggest influence onyoung people's career choices comes from their parents, the CareersService was interested to record the thoughts of parents who arestruggling to make sense of the increasing variety of training andeducation options that are now available to young people. Parents wereasked to talk about what they find difficult, what support they and theirchildren need and to say something about the difference between theirexperience of choosing a career and that of their children. The resultingvideo, translated into Chinese by the Manchester Translation Service,was shown at an event held for members of the Chinese community. Ashort booklet has also been written to accompany the video.

Information provided by the Progress Trust


DD

According to a study byBarber (1995), about athird of parents saidthey would like moreinformation about thecurriculum and extra-curricular activities.

DU

Sharp & Cato 1998

aQWe need to make surethat parents know thatthey are needed as avital component to thesuccess of their child'seducation. In middleclass households this istaken as a given, butit's a different storyelsewhere.

DU

Lenny Henry

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g§g

gN3

Conclusion

Schools need no longer be sole traders in education. We all have aninterest in the quality of education and many people can contribute fromdifferent fields of expertise. We see these partnerships in education notas luxuries but as essential to the kind of education all young people nowneed. They do not happen without planning, and they often haveimplications for resources. In the next chapter we look at the differentways in which resources can be found.

Recommendations

We recommend that:

i. The development plans of schools should make explicit reference to provision

for creative and cultural education, including: the patterns of provision in the

formal and informal curriculum; the opportunities for contact with outsidespecialists, and with the community and cultural organisations.

ii. Schools should explore practical ways of developing the use of theirfacilities for creative and cultural education; to enrich the experience ofpupils and of the wider community.

iii. Where possible, school governing bodies should designate a member tohave responsibility for encouraging links between the school and culturalorganisations and to have an overview of the school's policies andprogrammes for creative and cultural education.

iv. The DCMS in collaboration with the Arts Council and the QCA shoulddevelop:

a. guidance on the factors that contribute to successful partnershipsbetween schools and outside organisations or individuals;

b. a national arts education award scheme for schools and artsorganisations centred on supporting and encouraging schools andcultural organisations to improve and extend their arts educationprovision.

v. OFSTED and the QCA should collaborate in a national baseline audit ofcurrent standards in, and provision for, creative and cultural education inschools.

vi. The DCMS should:

a. undertake an audit of provision for creative and cultural education inpublicly funded cultural organisations;

b. co-ordinate the development of a quality assurance system forpartnerships between artists, arts organisations and the formal andinformal education sectors.

vii. LEAs should specify support for school improvement in creative andcultural education in their Education Development Plans and considermaking creative and cultural education one of the priorities.


viii. All cultural organisations should develop policies and programmes whichrelate their work to formal and informal education. Such policies shouldnot separate education from the main objectives of the organisation, butshould recognise the need to engage with the wider community as a coreobjective.

ix. NESTA should undertake research on approaches to mentoring. This workshould be disseminated in collaboration with the QCA for adaptation toand widespread implementation in schools.

x. LEAs should encourage the exchange of knowledge, expertise andfacilities between specialist schools and other schools in the area.

xi. Professional teacher associations and subject associations should:

a. provide opportunities to discuss the full implications of this reportwith their members and the ways that it will impact on teaching,learning and teacher training;

b. give guidance to their members on how to respond to this report inpositive ways by improving creative and cultural education throughtheir teaching and/or particular subject areas.

$ 139Developing Partnerships NACCCE Report 139

BB

Curriculum work in

music, dance and

drama has been devas-tated by delegation ofmonies to schools andis a shadow of its for-mer self.

DD

Peter Baker, Head ofArts in EducationService forLeicestershire

140


263

introduction

In this chapter we look at the new patterns of educational funding andresources that are emerging locally and nationally. We identify problemsand opportunities for the kinds of provision we are advocating.

LEA Services

In the past, local education authorities had wide-ranging roles in thepromotion and support of young people's creative and cultural activities.The provisions of LMS have eliminated the key services in these fieldsthat LEAs once provided. There is widespread uncertainty about theextent of available services within LEAs. An audit should be undertaken byOFSTED to address this problem. It is known, for example, that advisoryservices have all but disappeared in many local education authorities;peripatetic music and instrumental services have been dismantled; andprovision for a wide range of essential cultural activities has gone,including support for youth theatres, orchestras and dance companies.Many LEAs have only one, if any, specialist providing educationalleadership in the arts. According to a survey conducted by the RoyalSociety of Arts in 1995 (Rogers 1995) one third of arts advisory posts hadbeen abolished since 1990. While posts were reduced in all curriculumareas, there was a disproportionate loss of advisers in music, PE and art.At the time of the survey, nearly a third of LEAs had no specialistadvisers for music and a quarter had none for PE or art. The fourth surveyof LEA Advisory and Inspection Services by NFER in 1998 (Hendy)showed that the majority of the remaining advisory staff now have ageneral brief, with subject specialists becoming 'an increasingly rarebreed'. Of 87 LEAs responding, about one third indicated that specialistsupport for arts and performing arts was 'poor or barely adequate'. Co-ordinated action is needed to establish new structures of funding andresources to provide these services in new and imaginative ways. Anessential starting point is to create new patterns of partnership betweenthe government departments and funding agencies with an interest increative and cultural education, so as to make more effective use ofresources in the long term.

Some LEAs maintain networks for primary and secondary teachers invarious subjects. Teachers value these meetings because they providethem with an opportunity to share ideas, issues and practice withcolleagues from other schools. There is considerable concern that thisvaluable networking could be under threat from the Government'sproposals for 100 per cent delegated funding of curriculum supportservices to schools. The DfEE should enable LEAs to employ co-ordinatorsor curriculum advisers for creative and cultural education, to work withschools, to ensure access to specialist advice; liaison with community

140Funding and Resources NACCCE Report

groups; and co-ordination with other services provided by localgovernment through other departments. These co-ordinators should beaccountable to head teacher boards. This provision should enable activeparticipation in creative and cultural activities as well as the opportunity tosee performances, exhibitions and events and support for theatre ineducation and youth music groups.

Funding through PartnershipTwelve schoolgirls at the Stonehenge School, Amesbury produced astage show, Communicate, to highlight issues such as bullying, racism,drug and alcohol abuse. They have been given £500 by WiltshireCrimebeat so they can take their show to a wider audience. The cashwill enable them to pay the production costs of the show and a video,which can be distributed to schools and other audiences. Productionspokesman Nigel Mansfield said parents who saw the girls perform atthe Salisbury Arts Centre were so impressed with the message it putacross, they felt the production should be seen by as manyschoolchildren as possible. The success of this project is due topartnerships with a variety of organisations from the arts, education,health and social services sector: Frontline Theatre, Amesbury YoungWomen's Drama Group, Artswork, Wiltshire Youth & CommunityService, Salisbury District Council's Arts Unit, Southern Arts, SalisburyDistrict Community Safety Partnership, Crimebeat, the police, socialservices, the probation service and county councillors.

Information provided by Artswork and The Journal

Music Services

It is important to distinguish provision for general music education withinthe school curriculum from provision for specialist instrumental and vocalteaching. Peripatetic music teachers are vital in the music education ofyoung people. In order to restore music services, instrumental/vocal musicteachers should have access to secure and long-term employment withopportunities for development. There are currently no quality assurancemechanisms in place to monitor and evaluate the quality of peripateticinstrumental/vocal music provision. The Federation of Music Services andthe National Association of Music Educators have developed a nationalframework to form the basis of an instrumental/vocal curriculum. Thisframework aims to complement the requirements of the NationalCurriculum while ensuring coherence, consistency, continuity, progressionand parity of esteem in instrumental and vocal tuition. Based on theNational Curriculum model, it includes five programmes of study, atdifferent levels, within which teachers can develop their own specificschemes of work. In each programme of study, statements are providedof what pupils should be taught and of what pupils should be able to do.These statements are helpful in:

0 planning schemes of work for particular instruments/voice;


BnThis partnership withLEAs should see thereturn to a level of pro-vision where everychild has access to thesupport they need.

DU

David Blunkett MPSecretary of State forEducation andEmployment

141

BnEven as a middle-classkid, I could not havebecome a musicianwithout the huge, var-ied infrastructure ofmusic services provid-ed by Liverpool in the1960s.

DU

Sir Simon Rattle

2§E3

O identifying the focus of teaching and learning for particular lessons;

O identifying criteria for assessment; and

o providing appropriate information to pupils, parents, colleagues andschools.

The guiding principle should not be that every child should have to play amusical instrument, but that every child should have the opportunity to doso as a basic entitlement.

The Federation of Music Services and the National Association of MusicEducators has estimated that national non-delegated funding for musicservices over the last ten years has declined from a level of £100 million.per annum to less than £40 million per annum. The devolving of budgetsmay be a good thing in some areas; for music, it has had disastrousresults in many parts of the country. Over the last 30 years, the LEAs hadbuilt up sophisticated services for music, all, by their nature, linked. If evena small number of schools choose to use their money for subjects otherthan music, as is their right, then LEA music services collapse, if notcompletely, then in breadth and expertise. This has happened throughoutthe country. The effects in many areas have included the abolition ofperipatetic music posts.

The 1988 Education Reform Act ruled that schools could charge parentsfor individual lessons. The 1993 Education Act adjusted the situation byallowing schools to charge parents for group instrumental lessons,providing the group was not more than four in number. The result wasthat some schools absorbed the full cost and continued to offerinstrumental teaching free to all pupils; others passed on part of thecharge, while a few expected parents to pay the full cost. The evidence isthat the trend is growing for schools to pass on a substantial part of thecost. We welcome the steps that Government is taking to address thissituation. The DfEE has made £150 million available and the DCMS hasoffered £30 million towards the improvement of music services. Throughnew arrangements announced in January 1999, existing music servicesare to be protected, and new musicservices encouraged by the availability ofgrants through the Standards Fund. Thisacknowledgement of the importance ofinstrumental music education is veryimportant, as is the recognition thatdelegation to schools is not the solution.

1 4 2

142 Funding and Resources NACCCE Report

MC)

Uniting for CharityOn Monday 23rd November 1998 Sir Simon Rattle conducted theworld's largest orchestra ever in Birmingham. The event, organised byMusic for Youth, involved 3,503 young musicians from as far as London,Preston and Middlesborough, with the City of Birmingham SymphonyOrchestra sitting alongside them. The orchestra performed Sir MalcolmArnold's Little Suite No 2. £25,000 in sponsorship was raised for MarieCurie Cancer Care through the event. The participating children wereproud to be part of this record-breaking attempt, but more so to be ableto contribute to charity in such a concrete way. Sir Simon saidafterwards, "It seemed like Great Britain was heaving with music; itmakes us all so proud. It draws attention to how much music there is inthis country, but it's not a fait accompli that this will carry on".

The arrangements introduced in 1999 have been welcomed with relief bythe music education community. But some serious problems remain.First, in areas where music services have not been financed by localeducation authorities, grants will only be available if the authority can find50 per cent matched funding. Second, there will remain markeddisparities across the country. According to the DfEE (1999), 88 per centof LEAs have applied to the Standards Fund on the basis that theycurrently run some music provision. But 'some provision' could mean anotional contribution to supporting ensemble work for example. It cannotbe deduced that 88 per cent of LEAs across the country sustainsignificant or adequate music services since there is no complete pictureof the extent, reach or quality of different services. Third, although theterms of the grants under the Standards Fund require improvements inequality of access to music services, no basic principle of entitlement toaccess has yet been established.

In addition to the action taken by the DfEE, the DCMS has establishedthe National Foundation for Youth Music (formerly Youth Music Trust),using money from the National Lottery. The purpose of the Trust is toassist areas where music services do not exist or need to be built up. Toensure the continued survival of music services, all these strands shouldbe brought together. Government has at last given the lead by affirming

`143Funding and Resources NACCCE Report

BB

75 per cent of orches-tral players would notbe playing today if

there wasn't freeinstrumental provision.

DD

Sir Simon Rattle

BB

Music is a vital part ofevery child's educationand plays an importantrole in this country'sculture. Years of under-funding have left somechildren without accessto musical instrumentsor the tuition they des-perately need to devel-op their talents. TheGovernment is deter-mined to reverse thatdecline.

DD

David Blunkett MPSecretary of State forEducation andEmployment

143

Nfg

the importance of musical education. This is a tremendous step forward.What is now needed is a vision of how disparate funding strands, unevengeographical coverage and standards, and differing fee structures can bemade coherent and fair. We believe that in the longer term, these twodepartmental initiatives should be unified to create a co-ordinated,coherent system of supported musical education across the country. Thiscould involve the formation of a national body, solely charged with theadministration and funding of music services. The desire to play aninstrument or sing is as strong as ever. Music has always been the prideof our nation. We need to establish firm foundations for its growth.

hlational Platform for Young PerformersRuth Wilson, aged six, from Swansmere Primary School in Surreyplayed her own composition in front of an audience of 2,700 people atthe Royal Festival Hall in London twice . . . thanks to Music forYouth. An estimated 500,000 schoolchildren are actively involved ininstrumental and vocal music lessons in schools. Music for Youth,working closely with all the major music teaching organisations,provides a national platform for around 10 per cent of this numbereach year. The number taking part in Music for Youth activities hasincreased from 25,000 in 1992 to 40,000 in 1997, and demandcontinues to grow.

Information provided by Music for Youth

Choral Projects

There is growing interest in revitalising the tradition in this country ofchoral music. Not all children have or can play instruments, but they dohave voices and they can sing with increasing pleasure and skill withhelp and enthusiasm. These schemes have enormous benefits forchildren and their communities and, in expert hands, can help to raisestandards and motivation as well. The DCMS and the DfEE could take animportant lead, perhaps in association with the National Foundation forYouth Music in part-funding and initiating local choral schemes involvingschools and the wider community.

144


Chore Singing Raises MoraleIn Tower Hamlets, with an 80 per cent pupil population of Asian originpredominantly Bangladeshi, the project ended with a singing event inCanary Wharf involving 300 pupils. This had gradually built up over threeyears through smaller group performances with the involvement of theSpitalfields Festival, a dynamic local permanent community artsorganisation. This was another important contributor to the debatesabout quality. The pupils sang in up to four parts, as a whole choir and inindividual school groups, sometimes unaccompanied, sometimes with ajazz orchestra. The songs were taken from many cultures, anddemanded different vocal effects. The event was impressive in manyways. But the bedrock achievement for those of us privileged to haveseen the progress over time lay in the fact that most of these childrenhad effectively been non-singers before they started three years before.Standards and quality of singing are only a part of the overall intentionsof singing performance. The children had an experience that wastransparently unforgettable and so did the audience. They knew whatthey had achieved. Their teachers were enthused with their success,and were explicit about the overall benefits that had come to thechildren in their learning more generally. But that is not the end. TheLEA is taking the singing work forward to higher standards by employingfrom its own resources a tutor for singing at its Saturday morning musicschool. It has also used the lessons of this animation project to part-fundanother singing project which is explicitly linked to the LEA literacystrategy. There is a connection between all these achievements, and thechallenging and mutually supportive debate about standards.

Information provided by the National Foundation for Youth Music

Funding Opportunities

The opportunity to visit cultural organisations like museums, sciencecentres or galleries or to bring professional organisations or individualsin to school should be part of the basic entitlement of all children. Astrong creative and cultural life is the key to a healthy society. Youthorchestras, youth theatres and other creative activities play a vital role inthe wider community, but it is often difficult to find funding for suchprojects. A survey by the National Campaign for the Arts (NCA 1997)found that the average subsidy for theatre in education companies hadfallen by 22 per cent in real terms over the last 10 years. 10 per cent ofcompanies had closed. A further 20 per cent of the companies surveyedhad closed by the time the research was published in 1997. Funding isrequired for a variety of services, including access to specialist advice,liaison with community groups, co-ordination with other services in localgovernment, artist or scientist in residence schemes, visits to or fromcultural organisations or merely for the busses to transport children toand from an event.


BB

I am sure my parentsare thankful too that itwas music and theyouth orchestra whichhelped steer us

through our teenageyears so enthusiastical-ly and safely.

Ex-youth orchestraplayer

145

DD

We,

There is a variety of funding opportunities available to support creative and

cultural education in schools and other organisations. However, these

opportunities are not co-ordinated and can cause widespread inequality of

access. Moreover, many funding schemes are short term whereas theproblems and opportunities are long term. Schools are often not aware ofall the funding opportunities available to them, not just through recentgovernment initiatives. This problem could be eased by developing adirectory of funding opportunities available to schools. This directoryshould be distributed to all schools in printed format and it should bemade available and updated regularly on the National Grid for Learning.

Successful Funding Strategies

Many successful strategies are currently in place in schools and culturalorganisations to raise funds or share resources. These examples shouldbe collated and disseminated by the DfEE and DCMS. Some of the bestexamples include:

o self-help groups of teachers who share facilities, exchange examplesof good practice and offer mutual support;

industrial sponsorship of increased technical support and access toconsumable materials in schools;

o corporate membership schemes to loan museum and galleryexhibits to businesses in exchange for funding;

O arts liaison officers in businesses who link with schools or artsorganisations to offer business expertise or funding;

O a Young Person's Performance Pass which offers discountedticketing to schools for arts events;

O arts miles schemes where schools or individual pupils get credit forattending arts events;

o trusts who give money to pupils to attend cultural events rather thangiving the money to the organisations to put on the events;

o partnership schemes to cover the costs of transport for pupils tovisit cultural organisations.

National Lottery

The Government has secured reform to the National Lottery and putsignificant amounts of new public money into the arts. We commendthese actions. There is still scope for further action. It is still much easierto secure funding for specific projects that for longer-term developmentalwork. A lot of time and resources are wasted on repetitive biddingprocesses. A coherent system is needed that will improve sustainabilityand development within schools and funded organisations. The fundingsystem should ensure that cultural organisations allocate core funds to thedevelopment of partnerships with the formal and informal education

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sectors and that the use of funding allocated for education work ismonitored. There are many examples of successful funding schemes andstrategies involving partnerships with education. These need to be widelydisseminated and made accessible to other cultural organisations.

Lottery klitiativesMany children and young people have enjoyed creative activity throughLottery awards from the Arts Council. Projects that turn scrap materialsinto art; create a sculpture trail in the school grounds; encouragecreative use of the internet; or provide much-needed new instrumentsfor school bands are just a few examples. The Lottery has generated .

enthusiasm, helped inspiration to blossom and given fun to children andyoung people across the country. An Arts for England (A4E) grantenabled 5-11 year-olds in Richard Atkins Primary School in Lambeth touse photography, storytelling and multi-media activities on the internet.At London Fields Schools in Hackney, a barren playground space hasbeen transformed into a stimulating environment with sculptures andplay structures, all made with the children's help.

Information provided by the Arts Council of England

Many arts organisations now only receive their grants in return for addededucational components. Many feel that they are constantly being asked toproduce more with less support. For those companies who see educationas part of their fundamental purpose, there is a real problem. Withoutexception, these educational components came from idealistic impulseswithin the companies, provided on a shoestring out of concern for the long-term health of the arts. Whatever funds could be put aside are. But it allstill costs money. Now that even the present insufficient grants will bepredicated on an increased educational output, often the original functionof the company can be lost sight of. In an orchestra, for instance, 75 percent of the turnover goes on salaries the only way to make meaningfulsavings is to sack the musicians, who provide the raison d'être of theorchestra, and who are also the in-built educational team. They cannotperform fewer concerts, without losing more revenue. The arts need togrow, not merely struggle to survive' the amount of energy spent insimply trying to survive is now the major factor in an arts organisation's life.There is a noticeable drift towards safety, the mediocre middle-road whichcan be a death-knell for arts. If this happens, or the central activities areweakened, badly-prepared or simply shelved, how can the educationalactivities supply the necessary vitamins for our children?

The New Opportunities Fund is investing £180 million for out-of-school-hours activities and £20 million for combined out-of-school-hoursactivities/childcare. The NOF is not able to enter into long-term fundingarrangements, like all Lottery distribution bodies. But it is keen to supportlocal and regional partnerships in establishing its healthy living centres,child care, and after-school programmes. It is possible for local


as

No arts funding systemcan be complete, oreven credible, withouta clear line on educa-tion and training andclear ideas about howthey can deliver.

DU

Professor ChristopherFray ling, Arts Councilmember

aQ

It is a great irony that,at the moment andfrom my perspective,much of the excitingthinking about childrenand creativity is beingchannelled towardsstudy support clubs andout-of-hours activitiesrather than mainstreamschooling.

Patricia Lankester,Director, The PaulHamlyn Foundation

147

DU

asA school in a deprivedarea set up an after-school cooking club. Acouple of boys who haddropped out came, gotso enthused that thenext thing they askedwas to be allowed backinto French classes,believing that theywould never becomegreat chefs withoutbeing able to speakFrench.

DU

Information providedby Prue Leith

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§50

partnerships which satisfy NOF criteria to gain funding for up to threeyears, to establish local networks that can provide for the sustainability, aswell as the quality of the work. We welcome these steps, as after schoolclubs can provide curriculum enrichment and extension opportunities increative and cultural development. The findings of this initiative should bedisseminated and good practice exemplified so that all schools can learnfrom the experience of these leading after school clubs and holidayfacilities. This could be a valuable opportunity for improving creative andcultural education. The DfEE document Extending Opportunity: A NationalFramework for Study Support (DfEE 1998a) provides a number of shortcase studies of projects. The department is also funding a three yearlongitudinal research project on study support. We are encouraged bythese initiatives and hope that these projects will further focus on thecreative and cultural development of young people.

Plural funding could be the answer to ancillary funds. Other partners cannotbe expected to fund the basic entitlement of all children, but extra activitiescan be resourced through business partners, trusts, or other sources offunding. Education Action Zones involve business partners in the educationof young people. Education Action Zones are test-beds for innovation; theyare obviously an important and rare opportunity to gauge alternativeapproaches. There are now a number of Education Action Zones inoperation and in prospect. These will need to be fully evaluated to identifynew patterns of provision and the most effective models for change. Artsand Business encourages business to sponsor the arts, including artseducation. A national scheme, introduced by the Government, couldco-ordinate and regulate all business sponsorship of education initiatives.The feasibility of a tax incentive scheme to encourage business to provideexpertise and funds for the development of creative and cultural educationshould also be examined.

From the industrialists' viewpoint, a key driving force for initiating changein education is the requirement for appropriately-trained staff for the


future. To this end, the strengthening of the links between schools andindustry are vital. Industry should play a key role in both promoting theopportunities for careers in technology, and in the training of new andestablished teachers. Both government and industry should contributeresources to drive these initiatives. This would include not only financialprovision, but providing appropriate equipment and teaching aids, and arole in co-ordinating initiatives nationally.

There is a clear gap in understanding between industrialists and teachersover the requirements of industry for our trained technology students.Some industrialists do not understand the scope of what can be achievedin schools. It is critical that the technology syllabus is accurate, up to dateand relevant to current industry practices. In order for teachers to teachtechnology creatively, they must keep up-to-date with developments inindustrial technology. While some schools do have excellent links withlocal industry, the fact that these are locally driven and funded dilutes theirnational effectiveness. A number of initiatives are needed to bridge thegap. These should be locally organised, but centrally funded and directedthrough government. They could include attachments from schools toindustry and vice versa, 'Teach the Teacher' schemes, PartnershipCentres, resident specialists, and so on.

New Technologies

Schools have to be in a position to access fully the new interactivetelevision services that will become available this year on all three digitaltelevision platforms and the internet. The DfEE are about to award a majorcontract to a broadcaster to deliver around 1,000 hours of GCSE-linkedprogramming from September. Pupils and teachers will need the digitalequipment, television and computer, to access this new channel and theBBC Learning Channel. The BBC has developed the Learning Channel as abroad-based learning service which would embrace life-long learning, skillstraining and some schools' programming. The corporation has said that ifit were successful, it could incorporate programmes on English, French,mathematics, geography, science and history within existing plans. In thevery near future, convergence will offer teachers a genuine opportunity toharness the information revolution to both inform and inspire pupils. Wewant to encourage all schools to take full advantage of these materials. It

Zif ..`r

fig-'Is.a.,..,

149

Funding and Resources NACCCE Report 149

asTechnology is a bridgeto content, not a desti-nation.


UD

E94

ffg

is important that these technologies are made available and used as amedium of expression and communication in schools. We are thereforeencouraged by the Government's drive to connect all schools to theNational Grid for Learning.

We need to build on existing knowledge to make the best use of technologyfor creative and cultural purposes. The implementation of the National Gridfor Learning is a step in the right direction, but it will not necessarily lead tocreative uses of the technology. The potential value of technologicaladvances is not just in using the devices and applications themselves, but

also in creating new ways of learning and working where the technology is acatalyst for innovative thinking as well as a medium for communicating anddeveloping new ideas and artefacts. The contribution of the creative media

industries to creative and cultural education could have many positiveimplications in schools. This too will need to be co-ordinated nationally.

Organisations like BECTA could play a leading role in this process.

Growing numbers of children now have access to a computer at home;our schools must not lag behind. Computer literacy is vital for anyonenow entering the world of work and preparing for individual life. Lack ofbasic computer skills will condemn young people to be deprived, both ofvital information and of new forms of art and entertainment that will, infuture, be delivered by television and the internet. We commend thepartnership initiative between schools and business recently announcedby the Tools for Schools charity1 and hope that this work will be takenforward. This new organisation plans to supply thousands of new andrefurbished PCs to all state schools at a nominal price. All computers willbe Year 2000 compatible.

Conclusion

The introduction of local management of schools has radically effectedsystems of support for creative and cultural education. Patterns ofprovision now vary widely throughout the country. New forms ofpartnership are needed, with support and advice from centralGovernment, including more strategic use of new funding, information ongood practice and guidance on quality assurance.

Recommendations

We recommend that:

OFSTED should conduct an audit of LEA provision for creative and culturaldevelopment, including advisory support, music services, youth musicgroups and theatre in education.

The DfEE should enable LEAs through the Standards Fund to employ co-ordinators /curriculum advisers for creative and cultural education,accountable to head teacher boards, to work with schools, to ensureaccess to specialist advice; liaison with community groups; and


co-ordination with other services provided by local government throughother departments.

iii. The DCMS and DfEE should establish a mechanism and formula to:

a. provide all schools with dedicated funds for creative and culturalprogrammes and activities;

b. to provide local education authorities with dedicated funds to co-ordinate provision for creative and cultural programmes andactivities.

iv. The model framework developed by the Federation of Music Services andthe National Association of Music Educators should be taken as the basisfor a national strategy to ensure coherence, consistency and progressionin instrumental and vocal music tuition.

v. The DfEE and the DCMS should take action to ensure long-term provisionof a single national system of music services after the interimarrangements of the Standards Fund. This system should provide:

a. peripatetic music services which are available to all young people onthe same payment basis with remission for those on low incomes;

b. local services to create and update stores of instruments for loan.

The Youth Music Trust should be developed to complement this nationalsystem.

vi. The Government in association with the Youth Music Trust should initiateand part-fund local schemes for choral music involving schools and thewider community.

vii. The DfEE and the DCMS should develop a directory of fundingopportunities available to schools, and collate and disseminate examplesof successful funding strategies. This information should be printed andmade available on the National Grid for Learning.

viii. The DCMS should extend the funding programmes for the developmentof the creative industries to support partnerships and joint projects witheducation.

ix. The DCMS should:

a. establish a coherent system for long-term funding for thedevelopment of education programmes by cultural organisations;

b. ensure that cultural organisations allocate core funds to thedevelopment of partnerships with the formal and informal educationsectors;

c. ensure that the use of funding allocated to cultural organisations foreducation work is monitored.

x. Good practice in after school clubs should be disseminated by LEAs toencourage all schools to consider the opportunities for creative andcultural development of pupils as part of their extended provision.

Funding and Resources NACCCE Report 151

xi. The Government should examine the feasibility of a tax incentive schemeto encourage business to provide expertise and/or direct funds for thedevelopment of creative and cultural education.

xii. The Government should:

a. explicitly encourage the creative uses of new technology throughThe National Grid for Learning;

b. support traditional libraries with a virtual library in every school, withaccess to dedicated databases and general information banks;

c. set as its goal not just the provision of a computer and aninternet/intranet connection in every school, but the provision of aPC to every pupil and teacher's desk;

d. provide hardware and software to ensure that every pupil leavingschool has had opportunities to explore the creative possibilities ofnew technologies.

xiii. Existing national programmes for the development of computer softwareto support creative and cultural education should be co-ordinated in such away as to support the wider needs of education in all sectors.


0 Training People

Introduction

Teachers are the most important resources in education. They must be welltrained and motivated. The new arrangements for initial teacher educationand the existing priorities for continuing professional development presentsome serious difficulties for creative and cultural education. In this chapterwe look at the implications of our arguments for the training of teachersand of other professionals involved in creative and cultural education.

Initial Teacher Training

The Government has in hand a wide-ranging programme to raise thequality of initial teacher training (ITT). There are four central elements to thecurrent policy: a national curriculum for initial teacher training, nationalstandards, school-based teaching and the national framework forinspection. We strongly support the drive to raise overall standards ofteacher training, and to promote closer relationships between theprofession and the training institutions. The national standards bring clarityto the task of teacher education and set out systematic criteria for studentdevelopment and assessment. We strongly support the need for extensiveschool-based experience as part of teacher training programmes, and theinvolvement of classroom teachers as mentors to students in training. Butthese new arrangements do present some serious difficulties for thepromotion of creative and cultural education of student teachers, and, byimplication, of the children they eventually teach. As with the NationalCurriculum for schools, the ITT National Curriculum is likely to prove over-full and congested. Providers of teacher education, like teachers'in schools,are increasingly required to teach to the test and have little room fordialogue, debate and creative work with students. If the creative potentialof student teachers is ignored, it is unlikely that they will be able topromote the creative and cultural development of pupils

National Standards

In 1997, the Government introduced national standards for initial teachertraining. These standards relate to new course requirements for teachertraining and, for the first time, to a prescribed National Curriculum forinitial teacher training in English, mathematics, science and informationtechnology. Trainee teachers are now required to cover, in detail, theNational Curriculum for these subjects. Primary trainees are also requiredto identify a specialist subject. This could be one of the existing coresubjects. For the reasons we have given throughout, it is essential thatEnglish, mathematics and science should contribute to creative andcultural education and that teachers should be trained accordingly. As it isthe standards make only passing references to promoting children'screative and cultural development.

Training People NACCCE Report

DD

Teachers affect eternity;no-one knows wheretheir influence stops.

DDAnon

BnProblems exist whereteachers are not educat-ed in the cultural andcreative arts. The poten-tial of the child is over-looked. Children's abili-ties are underestimated.

Mildred Dodds,teacher

153

DD

LaWe have to think outside

the conventional bound-

aries when we thinkabout arts educationmore imaginatively.

DU

Anthea Mil lett, ChiefExecutive, TeacherTraining Agency

154

2'80 There is a further problem. In the existing standards there are no detailedrequirements relating to the arts and humanities at all. Unless studentschoose an arts or humanities subject as their specialist study, they neednot study the arts and humanities in any detail at all during initial teachertraining. The prospect is that future generations of primary school teacherscan qualify to work in schools with only a minimal understanding of thearts and humanities in education. These disciplines are at risk in schoolsfrom all the pressures we have identified. The new danger is that theNational Curriculum for teacher education threatens even the supply ofteachers in these disciplines.

Extending Teacher TrainingSome children's potential is only limited by our own expertise. As amusician I can encourage/develop children's potential, resulting in ourschool orchestra of over fifty children of whom most reach grade 3,4 or 5 on their instruments. Unfortunately I had no training in dance I

don't know where to start my staff is similarly untrained! Primaryschools need the resources to employ experts. What bliss it would beto have sufficient funding to employ an expert for half a day a week forthe arts a mere £4,500 would do. All of our extra resources supportspecial needs children which has to take priority. Too much fundinggoes on special projects. The experts are often drawn in for a short-term project and yes, they create a splash. But after they've gone thestaff is really none the wiser, the children certainly cannot cope withoutguidance, and the standard of work reverts to type. We need in-depthstaff training not the occasional day here and there. Let my schoolteach to its strengths. Until the day comes when I have a staff equallyqualified in all ten areas of the curriculum let us teach to our strengths,do it well and enable children to reach their potential. We object to thepower of inspectors telling us that our expertise in certain areas of thecurriculum is deficient. Was it my fault that in my own education I wasdeprived of dance? I hope the committee remembers that teachers area very willing group of people. We really want to do our best for thechildren in our charge but we cannot lead children where we havenever been ourselves.

Judith Graydon, Parish C of E Primary School

A study published in November 1998 by the Royal Society for Arts on thearts in teacher training (Rogers 1998) says that there is widespreadevidence that teacher training institutions are:

o abandoning specialisms in arts subjects;

O cutting back the hours allocated to the arts;

o losing access to vital resources such as facilities, equipment andstaffing.

i54Training People NACCCE Report

Institutions report that they have five major challenges:

a. avoiding further cuts in time for specialisms in the arts;

b. coping with inadequate staffing and other resources;

c. finding suitable placements for students in schools which have goodarts provision;

d. ensuring good quality mentoring for students while in schools;

e. providing teachers with opportunities for in-service training in the arts.

The national picture is mixed, both by region and by discipline. Theproblems are more acute in primary training than in secondary, sincesecondary training is based more on subject specialisms. According to theRSA study, students on primary teaching courses often receive little or noexperience of the arts. Nine out of ten surveyed felt that they spend toolittle time on the arts during training. Over half the student teachers do notteach dance during their school placements, over a third do not teachmusic. The majority of students feel the teachers they work with inschools lack experience, subject knowledge and confidence in teachingthe arts. Many newly qualified primary teachers have little confidence inteaching the arts, especially in drama and music. A declining minority ofinstitutions offer specialist training in one or more of the art subjectsart, music, dance and drama. On current Government plans, only 14 percent of newly qualified primary teachers will have specialised in an artssubject. Provision for arts teaching is thus facing severe adversity.

The specialist PGCE music course for primary school teachers at the

University of East Anglia will no longer run after this academic year. East

Anglia is a rural area. The PGCE music students brought activities into

schools that they had not hitherto experienced. The University of East

Anglia's education department brought in outside artists to work with

students, and while there, these artists gave open lunchtime performances,

which were enjoyed by students of other disciplines. The artists sometimes

visited local schools, teachers became enthused by these musical

influences and started to think about training to be recognised as subject

specialists under the TTA's new scheme. Had this cycle continued, it could

have perpetuated a musical culture in the schools where the students were

placed. That cycle is now broken and the cultural impetus is gone.

:155Training People NACCCE Report

DDAny course optionwhich gives a high pri-ority or profile to thearts is likely to run

against the grain of thenational prescriptionand will require an actof commitment by theuniversity to see it

through.DU

Departmental head atHEI

155

as

After defining the KeyStage 1 and 2 art andmusic curriculum to thestaff of the primaryschool, one of theteachers of 10 year olds

said she "wasn't a bitmusical". Eventuallyshe proudly presentedresults of her class his-tory topic on theRomans in which herclass composed sen-tences, rhythms, chantsand rounds. She stillsays "I can't teachmusic", but it showsthat a little encourage-ment can go a long way.

DU

Mildred Dodds,teacher

156

2'84

Like schools, teacher training institutions are free to provide morecomprehensive programmes in the .arts and humanities if they wish. Butthey are faced with a complex equation of providing for the existingstandards, teaching the National Curriculum for the core subjects, andpreparing the students for school experience in 50 per cent of the coursetime available. Moreover, if the institutions are judged by OFSTEDinspections not to be meeting the standards, they risk being de-accredited. In these circumstances, as in schools, the pressure is to playsafe: to do what is required but no more. As with the National Curriculum,the standards focus on the core subjects. There must be compatibilitybetween the two National Curricula if the one is not to frustrate the other.It can also not be reasonably expected of newly qualified teachers toteach the arts and humanities with insufficient training in these areas.Many generalist teachers shy away from teaching arts subjects like music,because of a lack of confidence. Appropriate modules in these subjectareas during teacher training could bolster teachers' confidence to teachall areas of the curriculum well.

Developing Teachers' Own CreativityIn 1997, a teachers' and artists' collaborative was established, driven bythe conviction that the current intense focus on education, welcome asit must be, does not adequately consider the creative needs ofteachers. The acute demands made on teachers by the educationsystem, with its emphasis on grades, performance and league tables,means that there is little time or opportunity for them to realise theircreative capacity. Tandem seeks ways in which teachers, working withexperienced practitioners, may be afforded space and time for theirown self-expressive, creative work. Actual practice of an art is not onlya source of infectious excitement, discovery and renewal, but really theonly source able to animate and inform with authority and empoweringconfidence. One teacher who attended a Tandem course summarisedthis project as follows: "I saw the mention in the TES and rangimmediately to check it really was for me, and not for 'how to do it' tips[...] if as teachers we aren't creatively and imaginatively alive/enlivened,we can't create, imagine and inspire, i.e. we can't teach. We candeliver, inform, police, but not teach. Tandem is the first initiative thatI've come across that recognises the centrality of teachers' creativity totheir role in education, and then combines that recognition with theunderstanding that practitioners are the best people to nourish anddevelop that creativity."

Information provided by the Extension Trust, Tandem Project

School-Based Work

All programmes of initial teacher training are now conducted in closepartnership with schools and involve classroom teachers as mentors tostudents in training. Almost half of the initial teacher training programme


2'86

now takes place in school. There are benefits in this process. But not allschools have the subject expertise nor the skills in enabling creativedevelopment that students need if they are to become competent inthese areas. Primary schools in particular often lack subject expertise inarts disciplines. This problem is likely to be compounded under the newarrangements. There is no requirement for the higher educationinstitutions to provide courses in arts and humanities: many students willfind themselves in schools where mentors feel inexpert in thesedisciplines. We anticipate a spiral of decline in arts and humanitiesteaching, driven by the combined effects of the current NationalCurriculum and the new teacher training standards.

Inspection Framework

The new framework for inspecting standards in teacher training relatesclosely to the structure of the national standards for teacher training andthe new course requirements. It identifies clear criteria and a system ofgrades against which the competence of institutions to provide teachertraining is judged and to which their funding and allocation of studentnumbers is related. The inspection framework makes little reference tothe areas of development with which we are concerned.

Recruitment

There are particular problems of recruitment to secondary teacher training.Providers are unable, year on year, to recruit to target in secondaryscience, mathematics, modern foreign languages, music and technology.There are also signs of a downturn in subjects that have traditionallyrecruited well, such as English, religious education, music and geography.At present only primary teaching and secondary history, art and PE areable to fill their places relatively easy. Student recruitment for arts subjectsin secondary schools is worsening. According to the RSA report onteacher training, in 1997/98, art under-recruited by 7 per cent, music by 18per cent and design and technology by 41 per cent. Final estimates for1998/99 show further deterioration: art is under target by 18 per cent,music by 18 per cent and design and technology by 46 per cent.

Proposals for Development

In the same way that schools have been encouraged to bid for specialistcollege status on the basis of expertise in different disciplines, teachertraining institutions should be invited to bid for specialist status on thebasis of their own major expertise. A network of national centres ofexcellence in the arts, sports, humanities, sciences and technology wouldprovide a focus for resources, for initial training and for continuingprofessional development. Such centres of excellence could provide afocus for the accreditation of continuing professional development foradults other than teachers.


aQ

Nadine Senior, a

teacher whose knowl-edge, encouragementand inspiration motivat-ed a whole generationof young people.Through the teachingof dance she helpedshape the lives ofmany, including myown. Dance provided amedium for us to useour imaginations, com-municate, express anddevise our own work.We felt we couldachieve and that wehad something relevantto contribute to ourpeers, school, commu-nity and beyond. Dancegave us a hook uponwhich to hang the restof our learning; withoutit many of her studentswould not be here tosubstantiate this story.

DU

Dawn Holgate

157

BB

The RSA have devel-oped an arts audit pro-ject in the South Westand discovered thatschools didn't knowhow to use artists.

DU

Sue Harries, RSAproject co-ordinator

BB

The key to unlocking thefull potential of pupils inour schools lies in theexpertise of teachersand headteachers.Research and inspec-tion evidence demon-strate the close correla-tion between the qualityof teaching and theachievement of pupilsand between the qualityof leadership and thequality of teaching. It isthese links which lie atthe heart of theGovernment's drive forschool improvement.

DDTeacher Training

Agency, 1998

158

248

2'89

Teacher training programmes should include introductory courses onworking in partnership with museums, galleries, theatres and otherprofessionals. Many teachers are not aware of the tremendous benefits ofworking in partnership with outside cultural organisations and artists. Wehave discussed these benefits to teachers, pupils and schools in ChapterEight. There is a growing professional network of education officers incultural organisations and subject associations who could help to providesuch courses, and in doing so, promote their own professionaldevelopment and networks within education. If the doors to thesepartnership opportunities are not opened for teachers during teachertraining, it may remain locked forever, to the detriment of the pupils.

Training of Head Teachers

The key figure in any school is the head teacher. The head teacher affectsthe style, quality, enthusiasm and tone of the whole institution. Where ahead teacher is driven by particular enthusiasms, they are reflected in theprogrammes of work and patterns of achievement in the school as awhole. The Government has rightly identified the need to support theprofessional development of head teachers at every level. The newlydeveloping qualifications for head teachers will do much to support thisprocess. All head teachers should be made aware of the importance of:

O creative and cultural education;

methods of curriculum planning;

timetabling training and resourcing to achieve this.

These requirements should be built into the head teacher's professionaltraining qualification. An inevitable response to such proposals may be aconcern about overload. We emphasise our overlying argument in this reportthat creative and cultural education are not additional requirements thatshould be attached to the work of schools. They represent a fundamentaldynamic in raising standards and improving the effectiveness and quality of

education throughout the curriculum. We see them as an integral part of theprocess of staff development, especially for head teachers.

158Training People NACCCE Report

Continuing Professional Development

Before the introduction of local management of schools, local educationauthorities were able to provide extensive programmes of staffdevelopment through the advisory and support services. The introductionof LMS has effectively removed this source of training. Nevertheless,continuing professional development is a vital element in raising overallstandards of teaching and achievement in schools. The gap is being filledfor the moment by professional and subject associations and other groupsThe major proportion of government funding for continuing professionaldevelopment (CPD) is directed to the National Literacy and NumeracyStrategies and to ICT. We have commented elsewhere on the importanceof these strategies, but also that they should not overwhelm all otherpriorities in schools.

Programmes of continuing professional development are increasinglybeing provided by higher education institutions. The credit accumulationtransfer scheme enables teachers to accumulate professionalqualifications on the basis of stepped programmes of professionaldevelopment. These initiatives should be built upon and nationally co-ordinated by the DfEE and TTA. Recognition through accreditation forcourses completed can improve teacher morale and help to improvestandards of creative teaching and learning.

Teachers' professional development is a multi-million pound industry. Thisincludes funds from central government, through the TTA to trainingproviders in the higher education and private sectors, and through theDfEE's Standards Fund to LEAs and schools; from Training and EnterpriseCouncils (TECs); European Commission grants, and independentproviders. Some areas of the curriculum are subsidised more than othersfor continuing professional development.

The Standards Fund is the biggest provider of money for continuingprofessional development of teachers. The total budget of the StandardsFund was £550 million last year and it has been increased to £900 millionfor 1999-2000. Although not the full amount, a large proportion of moneyis allocated to in-service teacher training as this is deemed the best wayto improve standards. Thirty priorities have been identified for particulargrants in 1999-2000 through the Standards Fund. Not one of thosepriorities are focused on creative and cultural development in general noron the arts, humanities or creative teaching or thinking skills in particular.The only current priority which is broad enough to encompass these areasis one focused on general school improvement.

The TTA has £21.1 million available for award-bearing in-service teachertraining. The TTA lists ten priorities for its INSET funding, four of which aregeneral enough to be used for arts-related training the priorities forspecialist teaching in primary schools, for enhanced subject knowledge forprimary teachers, and for teaching early years children and 14 to 19 year-

1 5 9Training People NACCCE Report

as

The reduction of INSETprovision via LEAsand nationally is oneof the great losses ofthe past few years.

DU

Patricia Lankester,Director, Paul HamlynFoundation

as

Agendas in educationare perceived by manyto have become veryrestrictive, too oftenassociated with acade-mic achievement andexamination results tak-ing increasing prece-dence over wider edu-cational needs. This hasresulted in a mirrorednarrowing of teachertraining, both initial andin-service. Teachersteach to the tests:teachers are taught toteach to the tests.

DU

CAPE UK

159

aQIt seems crucial that ini-tial teacher training forall teachers includes afocus on education in amulti-ethnic society,and that all teachersreceive training thatequips them to teach ina context of linguisticdiversity, able to usebasic strategies fordeveloping English asan additional languageacross the curriculum.

DU

Blair et al 1998

BB

To be a performingartist in Britain in thenext century, you haveto be an educator too.

DU

Sir Simon Rattle

160

M;§

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olds. However, analysis of the funding bids for the three years 1998-1999to 2000-2001 shows that of the 79 institutions bidding for TTA funds, 33were successful of which eight intended to run a range of award-bearing INSET or CPD courses of course modules in the arts. Only aboutone per cent of the estimated student numbers for all the TTA-fundedcourses at the 33 institutions are allocated to courses or modules on art,music, dance or drama.

Just as schools have a responsibility towards their pupils to provide abroad and balanced school curriculum, headteachers and seniormanagement teams have a responsibility towards their teachers toprovide a broad and balanced programme of CPD. We need a teachingforce which recognises and promotes creative and cultural education.Earmarked funding through the standards fund for training courses inthinking skills, creative thinking and creative teaching in all subjects wouldensure that the importance of creative and cultural education will not beoverlooked in the continued professional development of teachers. It isequally essential that initial training and CPD provides fully for trainingteachers to address issues of multiculturalism and of anti-racism in alldisciplines. The arts, in particular, are regularly absent from the categorieseligible for grant aid that embraces the professional development ofteachers through the Standards Fund and the TTA INSET funds. They haveto operate by stealth through other areas.

Adults Other than Teachers

The Training of Artists

Visiting artists and others have enriched the curriculum in hundreds ofschools, and for thousands of young people. Supporting their involvementin education and providing appropriate training is essential. From a trainingpoint of view these programmes are in double jeopardy. The training ofprimary school teachers no longer carries a requirement for sustainedwork in the arts. The training of artists does not usually include anyreference to education. The training of artists is predominantly focused onparticular conceptions of professional practice: the concert platform, thepublic gallery, the professional stage. Yet in the last twenty-five years, theroles of artists have diversified enormously through work in education,community and social projects of every sort. Artists have manycontributions to make to cultural development, and there are many waysin which they can make them: in schools, through communityprogrammes, through placements in industry, through work in institutionalsettings and special programmes.

It is estimated that 80 per cent of all music conservatoire students areinvolved in education work within two years of graduating, yet theirtraining still does not prepare them sufficiently for this challenge. If ascheme was introduced for artists to spend one year of their training in avariety of educational settings, this problem could be addressed.

160Training People NACCCE Report

Participation in such a scheme should be by application and should carry astipend and exemption from tuition fees for that year. This will also serveto raise the profile of education work within the arts sector. Somesuccessful schemes are currently in place for linking music conservatoiresand teacher training institutions, for example the link between ManchesterMetropolitan University and the Royal Northern College of Music andbetween the Institute of Education (London) and Trinity College London.These initiatives should be closely monitored and expanded.

New models of training should be developed for artists in educationwhich offer venue-based practical training, a mixture of accreditationoptions and residency planning. Current models of collaboration betweencultural organisations and HEIs, such as the one between theBirmingham Royal Ballet and West Hill College could be taken forwardinto the field of continuing professional development, involvingpartnerships with schools and local authorities. The Birmingham RoyalBallet provides degree-level studies for dancers in the company. Thedegree programme is modular and was developed jointly with West HillCollege of the University of Birmingham, which teaches the course. Overtwo years members of the company can study for the degree of BPhil Edand can progress to a masters programme. Good practice in this areashould be exemplified and built upon.

Our proposed centres of excellence for providers of initial teacher trainingcould involve links with a wide network of cultural organisations, andcollaboration with the proposed regional cultural agencies identified in theDepartment for Culture, Media and Sport's Comprehensive SpendingReview. There are many thousands of professional people who couldmake sustained and expert contributions to the creative and culturaleducation of young people. These possibilities need to be furtherinvestigated through a number of publicly funded pilot projects, involvingcultural organisations and education providers to investigate practical waysof training teachers and other professionals to work in partnership.


BnArtists working, orwishing to work in edu-cation, need to learn alot more about theways that schoolswork, how subjects areorganised and theirteaching and structuredevaluation processes.

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Kate Burnett, artist

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asCAPE UK focuses onarts and creative activi-ties which bring toge-ther pupils, teachers,school managers, feed-er primary schools,community organisa-tions, further educationcolleges, businesses,artists and arts organi-sations and other cre-ative professionalssuch as interior design-ers, media workers andarchitects. The projectsaim not only to gener-ate creative learningexperiences for stu-dents, but to enableteachers to develop

' more creative teachingstrategies, to imbueeducation managementwith more creativeapproaches and toadvocate and dissemi-nate the findings andexperiences of the pro-ject to a wider con-stituency, locally,regionally, nationallyand internationally.

DU

CAPE UK

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Accredited Teaching Assistants

Given the mounting problems of teacher supply and recruitment,partnership strategies need to be developed to provide AccreditedTeaching Assistants in the field of creative and cultural education. Thesestrategies would provide a valuable resource to education while, at thesame time, opening up new fields of professional development andfulfilment for very many highly qualified and trained professionals in otherfields. It would build on the Government's intentions set out in the 1998Green Paper on teacher training (DfEE 1998c), to work with LEAs and therelevant agencies to develop an overall training framework for teachingassistants. However, our focus would be particularly on assistance in thearea of creative and cultural education.

Youth Workers

Creative and cultural activity seldom features in the training of youthworkers. It is assumed that those entering training bring with them .

interests and enthusiasms to which the theory of practice of youth workcan then be added. There is considerable scope to develop a more securetraining curriculum for youth workers, introducing them to the roles andbenefits of creative and cultural activities. Resources could also be shared,by hosting joint training sessions on creative and cultural education forteachers and youth workers.

Peripatetic Teachers

In Chapter Nine we argued that peripatetic music teachers should berecognised as equal partners in the music education of young people.There are few accredited training courses for instrumental/vocal musicteachers. A post-graduate diploma in music teaching in private practicehas been introduced by the University of Reading and the IncorporatedSociety of Musicians to provide musically-qualified instrumental andvocal teachers with a training in teaching methods. It is a practical,modular 2-4 year distance learning course. Cornwall LEA is also currentlyrunning a pilot scheme where by peripatetic music teachers can train forqualified teacher status. Such programmes could provide a model forwider development to improve the educational skills of professionalsother than teachers.

Education Officers

The increasing involvement of cultural organisations in education has givenrise to the need for training in education. There is some training formuseum and gallery educators provided through masters courses such asat the University of Leicester, but there is currently no undergraduatetraining for education officers or managers in cultural organisations. Atpresent, people either come from an arts background or an educationalbackground. Once in the job, they then have to learn about the other

162 Training People NACCCE Report

dimension of their work. The work of education managers is multi-dimensional, and there is an urgent need for accredited training that givesequal weight to cultural and educational issues. We are encouraged by theactions that the DfEE has taken to start addressing this issue, by givinggrants for training opportunities in this area. The scale of this initiativeshould be extended.

Conclusion

The new provisions in initial teacher training pose serious threats to thefuture development of creative and cultural education in general, and of .

the arts and humanities in particular. Urgent action is needed to secure acontinuing supply of trained teachers in these fields and to raise thestandards of expertise among all teachers, both in initial and in servicetraining. New strategies are also needed to draw on the experience andexpertise of specialists other than teachers, both through initial trainingand through new programmes of continuing professional development.New partnerships should be established between higher education andcultural organisations. Action is needed to improve the quality of trainingfor youth workers to promote the creative and cultural development ofyoung people at all levels.

Recommendations

We recommend that:

The Teacher Training Agency should develop the course requirements,standards and National Curriculum for initial teacher training:

a. to promote the importance of creative and cultural education in alldisciplines;

b. to promote parity between the arts, sciences and humanities in thetraining of primary school teachers.

63Training People NACCCE Report 163

ii. All primary students should be required to take substantive courses in allsubject areas of the National Curriculum.

iii. The DfEE should take urgent action to assess and remedy the decline inthe numbers of teacher training institutions offering specialisms in the artsand humanities in the training of primary school teachers.

iv. Immediate attention should be given to improving the pool of specialistexpertise available to trainee teachers through mentors, higher educationinstitution staff, and through other professionals to ensure that the trainingthey receive in the arts and humanities is equivalent to that for otherNational Curriculum disciplines.

v. The DfEE, the TTA and OFSTED should establish a mechanism forproviders of initial teacher training to bid to become centres of excellencein different specialisms. This status should be supported by additionalfunding and facilities.

vi. The TTA should ensure that The National Professional Qualification forHead Teachers addresses the importance of creative and culturaleducation, and methods of curriculum development and evaluation.

vii. Continuing professional development offered by higher educationinstitutions should be further developed in collaboration with partnerschools. Practice-based research should be encouraged by enablingteachers to enrol on postgraduate and masters degree courses devised forthis purpose.

viii. The DfEE through the Standards Fund, and the TTA through its fundsshould ensure earmarked funding for continued professional developmentin the following areas by identifying them as priorities for support:

a. creative teaching and learning;

b. creative thinking skills;

c. the arts and humanities;

d. teaching for cultural understanding.

ix. The DCMS and the DfEE should:

a. establish a national programme of advanced in-service training forartists, scientists and other creative professionals to work inpartnership with formal and informal education.

b. fund a number of pilot projects involving cultural organisations andeducation providers to investigate practical ways of training artistsand teachers to work in partnership.

c. establish a national scheme to allow arts students to take anintercalated year in schools as part of their first degree programme.

x. Higher education institutions and cultural organisations should developpartnerships to provide accredited programmes of continuing professionaldevelopment for artists and other specialists working in education.

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164 Training People NACCCE Report

xi. Training programmes for professional artists should include courses andplacements to prepare students for work in education and communityprojects.

xii. The DfEE should establish a new category of Accredited TeachingAssistant to supplement expertise in schools in the field of creative andcultural education. Qualifications should be provided through consortia ofhigher education institutions and cultural organisations.

xiii. The training of youth workers should include courses on development andmanagement of creative and cultural programmes.

xiv. The TTA and the QCA should develop accredited professionalqualifications for instrumental/vocal music teachers.

xv. Further training opportunities need to be developed for arts educators inthe museum, gallery and performing arts sector, giving equal weight tocultural and to educational issues.

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Training People NACCCE Report 165

Part Four:

A Klzacma, 0 SI'mlegy

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Looking Ahead

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We began this report by welcoming the Government's commitment to thecreative and cultural development of all young people. We have arguedthat these are essential priorities if education is to meet the manychallenges it now faces. We have defined our understanding of the rolesof creative and cultural eduction. We have analysed the opportunities andproblems in current provision as we see them and as they have beenpresented to us through our research and consultations. We haveemphasised the need for balance in national policy, in the structure of thecurriculum, in teaching methods, in assessment, in the relationshipsbetween schools and other agencies and in training of people. Overall, wehave attempted to think through the implications in principle and practiceof a genuine national commitment to realising the creative potential ofyoung people and of developing their cultural knowledge andunderstanding.

Promoting creative and cultural education is not a simple matter. It willinvolve a gradual review of the styles, purposes and ethos of education atmany levels. We believe that this is not an option but a necessity. Theworld of the twenty-first will be unlike any we have known. If we areserious in our intentions to prepare young people to move confidently inthis world, we have to look at it face on. The best we can do is to developthe capacities of young people as fully as possible, so they will beequipped for whatever futures they do meet.

In the future, fare more than the past, education will be shared enterprise.It will not stop at 16, or 18 or 21, as it has done for the majority, but willbe continuous and open-ended. It will be provided not only by schools andcolleges, but by businesses, commercial organisations, new technologies,by artists, scientists, other professionals and the community at large. TheGovernment has a pivotal role in creating a vision for education and insetting a course. For this reason, many of our recommendations areaddressed directly to the Government. But education is a collaborativeenterprise, and many others must lend their resources and expertise. Forthat reason, our recommendations are addressed to many other agenciesand organisations. Clearly, these proposals cannot all be implemented atonce. In relation to the National Curriculum we have indicated those thatcall for immediate action and those to be implemented in the mediumterm. But we believe that the case for change is strong, and the need foraction is urgent. We began by identifying three general priorities. Ourdetailed recommendations for each of these are as follows.

168 Looking Ahead NACQE7eport

Detailed Recommendations

Objective One: The School Curriculum and Assessment

To ensure that the importance of creative and cultural education isexplicitly recognised and provided for in schools' policies for thewhole curriculum, and in government policy for the NationalCurriculum.

The Whole Curriculum

Action by Schools

Head teachers and teachers should raise the priority they give to creativeand cultural education; to promoting the creative development of pupils andencouraging an ethos in which cultural diversity is valued and supported.

The development plans of schools should make explicit reference toprovision for creative and cultural education, including: the patterns ofprovision in the formal and informal curriculum; the opportunities forcontact with outside specialists, and with the community and culturalorganisations.

Head teachers should conduct an audit of the quality and nature ofopportunities for creative and cultural education for all the pupils in theirschools, including the balance of the curriculum in all Key Stages.

School plans for staff development should include specific provision toimprove teachers' expertise in creative and cultural education.

There should be a greater emphasis in schools on formative assessment:ie. assessment that is intended to improve the day-to-day quality ofteaching and learning.

Option systems at Key Stage 4 should be designed to maintain breadthand to avoid narrow specialisation.

Revising the National Curriculum for September 2000

Action by the DfEE

Rationale

The rationale for the revised National Curriculum from 2000 should makeexplicit reference to the necessity of promoting the creative and culturaleducation of all young people. In relation to creative and cultural educationit should specify:

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Detailed Recommendations NACCCE Report 169

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a. the knowledge, skills and values which young people should acquire;

b. the principles of organisation of the National Curriculum to facilitatethese outcomes;

c. the principles of teaching and learning through which they will be realised.

In its overall structure and in the specific programmes of study andattainment targets, the revised National Curriculum should be based on sixprinciples: breadth, balance, relevance, parity, entitlement and access. TheGovernment should reinstate the requirement to follow the full NationalCurriculum in the core and foundation subjects in Key Stage 1 and 2.

Flexibility

The pressures on schools should be reduced by ensuring that the NationalCurriculum programmes of study, and the requirements for assessmentand reporting can be accommodated within 80 per cent of the ordinaryschool timetable. The statutory requirements should specify theentitlement of young people in each of the subject areas, and the criteriafor attainment and assessment. Schools should have increased freedomto devise patterns of curriculum provision to meet these requirements.

Assessment

All of the desired outcomes of the National Curriculum should beassessed in appropriate ways, including those that relate to creative andcultural education. The results should all contribute to the profile of youngpeople's achievements and of the school's performance.

The DfEE should arrange to ease the present pressures of assessment by:

a. reducing the detail required of schools in support of assessment;

b. training teachers to conduct formative and summative assessmentssupported by a national sampling scheme.

Action by the QCA

Curriculum Development

The QCA should:

a. disseminate successful models of curriculum organisation andtimetabling that promote creative and cultural development within andbetween the main subject areas;

b. develop non-statutory guidance for creative teaching and learning foreach subject and attainment target of the National Curriculum;

c. ollate examples and curricular materials of positive uses of the literacyand numeracy strategies in creative and cultural education in primaryschools.

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These materials should be made available on the National Grid forLearning and through other media.

Assessment

The QCA should:

a. collate existing knowledge and expertise in assessing children'screative development in each of the main areas of the curriculum, andissue practical guidance to schools;

b. develop advice to teachers on approaches to formative assessment,particularly in relation to creative teaching and learning;

c. develop a system of national moderation of formative assessmentbased on appropriate methods of sampling.

Creative Thinking

The QCA should:

a. undertake an evaluation of existing techniques and programmespromoting creative thinking skills and creative problem solving;

b. establish- pilot projects to develop practical programmes andtechniques for promoting creative thinking in primary and secondaryschools, and formulate advice to schools.

Action by OFSTED

OFSTED should reaffirm its commitment to inspect all areas of the curriculum,

including the arts and humanities throughout compulsory education.

The OFSTED framework for school inspection should be further developedto take fuller account of creative and cultural education and of theprocesses of teaching, learning and assessment it involves.

OFSTED should develop its capacity to ensure that specialist areas of thecurriculum, such as the arts, are inspected by specialists. In particular,there should be a greater number of specialist HMI in OFSTED to offerexpert advice on specialist teaching and provision and standards.

OFSTED and the QCA should collaborate in a national baseline audit ofcurrent standards in, and provision for, creative and cultural education inschools.

On the basis of wide-ranging inspection, OFSTED should provide theGovernment with the inspection-based information and professionaladvice it needs to develop and carry out its policies for education; to knowhow those policies are working out in practice and ensure a constructivelink between school and policy-related inspections.

170Detailed Recommendations NACCCE Report 171

Revising the National Curriculum beyond September 2000

Action by the DfEE

Structure and Balance

The DfEE should put in place a more fundamental review of the structureand balance of the National Curriculum beyond 2000. Within this reviewfull consideration should be given to achieving parity between thefollowing discipline areas throughout key stages 1-4 as a matter ofentitlement:

o language and literacy;O mathematics and numeracy;o science education;o arts education;O humanities education;o physical education;

o technological education.

In order to achieve parity, the existing distinction between core andfoundation subjects should be removed.

Provision for creative and cultural education in early years educationshould be further developed, in particular through provision for the arts.

The structure of Key Stages 3 and 4 should be reviewed. Reducing KeyStage 3 to two years (11-13) and increasing Key Stage 4 to three (13-16)would increase the vitality of Key Stage 3 and the opportunities for depthof study and choice in Key Stage 4. The curriculum of Key Stage 4 shouldbe designed to maintain breadth and avoid narrow specialisation.

A thorough investigation should be undertaken into possible redefinition ofthe school day and year.

Objective Two: Teaching and Training

To ensure that teachers and other professionals are encouraged andtrained to use methods and materials that facilitate the developmentof young people's creative abilities and cultural understanding.

Action by Government

The DfEE should:

a. take urgent action to assess and remedy the decline in the numbers ofteacher training institutions offering specialisms in the arts andhumanities in the training of primary school teachers.

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b. establish a new category of Accredited Teaching Assistant tosupplement expertise in schools in the field of creative and culturaleducation. Qualifications should be provided through consortia ofhigher education institutions and cultural organisations;

The DCMS and the DfEE should:

a. establish a national programme of advanced in-service training forartists, scientists and other creative professionals to work inpartnership with formal and informal education;

b. fund a number of pilot projects involving cultural organisations andeducation providers to investigate practical ways of training artists andteachers to work in partnership;

c. establish a national scheme to allow arts students to take anintercalated year in schools as part of their first degree programme.

Action by the TTA

The Teacher Training Agency should develop the course requirements,standards and National Curriculum for initial teacher training:

a. to promote the importance of creative and cultural education in alldisciplines;

b. to promote parity between the arts, sciences and humanities in thetraining of primary school teachers.

The TTA should ensure that The National Professional Qualification forHead Teachers addresses the importance of creative and culturaleducation, and methods of curriculum development and evaluation.

All primary students should be required to take substantive courses in allsubject areas of the National Curriculum.

Action by Higher Education Institutions

Immediate attention should be given to improving the pool of specialistexpertise available to trainee teachers through mentors, higher educationinstitution staff, and through other professionals to ensure that the trainingthey receive in the arts and humanities is equivalent to that for otherNational Curriculum disciplines.

Continuing professional development offered by higher educationinstitutions should be further developed in collaboration with partnerschools. Practice-based research should be encouraged by enablingteachers to enrol on postgraduate and masters degree courses devised forthis purpose.


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gil

Higher education institutions and cultural organisations should developpartnerships to provide accredited programmes of continuing professionaldevelopment for artists and other specialists working in education.

Training programmes for professional artists should include courses andplacements to prepare students for work in education and communityprojects.

Further training opportunities need to be developed for arts educators inthe museum, gallery and performing arts sector, giving equal weight tocultural and to educational issues.

The training of youth workers should include courses on development andmanagement of creative and cultural programmes.

Joint Action

The DfEE, the TTA and OFSTED should establish a mechanism forproviders of initial teacher training to bid to become centres of excellencein different specialisms. This status should be supported by additionalfunding and facilities.

The DfEE through the Standards Fund, and the TTA through its fundsshould ensure earmarked funding for continued professional developmentin the following areas by identifying them as priorities for support:

a. creative teaching and learning;

b. creative thinking skills;

c. the arts and humanities;

d. teaching for cultural understanding.

The TTA and the QCA should develop accredited professionalqualifications for instrumental/vocal music teachers.

Objective Three: Partnerships and Resources

To promote the development of partnerships between schools andoutside agencies which are now essential to provide the kinds ofcreative and cultural education that young people need and deserve.

Funding and Resources


The DfEE should enable LEAs through the Standards Fund to employ co-ordinators /curriculum advisers for creative and cultural education,accountable to head teacher boards, to work with schools, to ensure


411

access to specialist advice; liaison with community groups; and co-ordination with other services provided by local government through otherdepartments.

The DCMS and DfEE should establish a mechanism and formula to:

a. provide all schools with dedicated funds for creative and culturalprogrammes and activities;

b. to provide local education authorities with dedicated funds to co-ordinate provision for creative and cultural programmes..and activities.

The DfEE and the DCMS should develop a directory of fundingopportunities available to schools, and collate and disseminate examplesof successful funding strategies. This information should be printed andmade available on the National Grid for Learning.

The DfEE and the DCMS should take action to ensure long-term provisionof a single national system of music services after the interimarrangements of the Standards Fund. This system should provide:

a. peripatetic music services which are available to all young people onthe same payment basis with remission for those on low incomes;

b. local services to create and update stores of instruments for loan.

The Youth Music Trust should be developed to complement this nationalsystem.

The Government in association with the Youth Music Trust should initiateand part-fund local schemes for choral music involving schools and thewider community.

The model framework developed by the Federation of Music Services andthe National Association of Music Educators should be taken as the basisfor a national strategy to ensure coherence, consistency and progressionin instrumental and vocal music tuition.

The DCMS should:

a. establish a coherent system for long-term funding for thedevelopment of education programmes by cultural organisations;

b. ensure that cultural organisations allocate core funds to thedevelopment of partnerships with the formal and informal educationsectors;

c. ensure that the use of funding allocated to cultural organisations foreducation work is monitored.


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The Government should examine the feasibility of a tax incentive schemeto encourage business to provide expertise and/or direct funds for thedevelopment of creative and cultural education.

Action by Local Education Authorities

LEAs should specify support for school improvement in creative andcultural education in their Education Development Plans and considermaking creative and cultural education one of the priorities.

Good practice in after school clubs should be disseminated to encourageall schools to consider the opportunities for creative and culturaldevelopment of pupils as part of their extended provision.

LEAs should encourage the exchange of knowledge, expertise andfacilities between specialist schools and other schools in the area.

Action by OFSTED

OFSTED should conduct an audit of LEA provision for creative and culturaldevelopment, including advisory support, music services, youth musicgroups and theatre in education.

Developing Partnerships


The DCMS should:

a. undertake an audit of provision for creative and cultural education inpublicly funded cultural organisations;

b. co-ordinate the development of a quality assurance system forpartnerships between artists, arts organisations and the formal andinformal education sectors.

The DCMS in collaboration with the Arts Council and the QCA shoulddevelop:

a. guidance on the factors that contribute to successful partnershipsbetween schools and outside organisations or individuals;

b. a national arts education award scheme for schools and artsorganisations centred on supporting and encouraging schools andcultural organisations to improve and extend their arts educationprovision.

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NESTA should undertake research on approaches to mentoring. This workshould be disseminated in collaboration with the QCA for adaptation toand widespread implementation in schools.

The DCMS should extend the funding programmes for the developmentof the creative industries to support partnerships and joint projects witheducation.

Action by Schools

Schools should explore practical ways of developing the use of theirfacilities for creative and cultural education; to enrich the experience ofpupils and of the wider community.

Where possible, school governing bodies should designate a member tohave responsibility for encouraging links between the school and culturalorganisations and to have an overview of the school's policies andprogrammes for creative and cultural education.

Action by Cultural Organisations

All cultural organisations should develop policies and programmes whichrelate their work to formal and informal education. Such policies shouldnot separate education from the main objectives of the organisation, butshould recognise the need to engage with the wider community as a coreobjective.

Professional Teacher Associations and Subject Associations

Professional teacher associations and subject associations should:

a. provide opportunities to discuss the full implications of this report withtheir members and the ways that it will impact on teaching, learningand teacher training;

b. give guidance to their members on how to respond to this report inpositive ways by improving creative and cultural education throughtheir teaching and/or particular subject areas.

New Technologies


The Government should:

a. explicitly encourage the creative uses of new technology through TheNational Grid for Learning;

b. support traditional libraries with a virtual library in every school, withaccess to dedicated databases and general information banks;


c. set as its goal not just the provision of a computer and aninternet/intranet connection in every school, but the provision of a PCto every pupil and teacher's desk;

d. provide hardware and software to ensure that every pupil leavingschool has had opportunities to explore the creative possibilities ofnew technologies.

Existing national programmes for the development of computer softwareto support creative and cultural education should be co-ordinated in such away as to support the wider needs of education in all sectors.

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Patterns of Provision

a. The School Curriculum

a.1. Our research and consultations provide evidence of significant concernsabout the provision for creative and cultural education in many areas of thecurriculum. The following information has been compiled using threedifferent sources.

i. the statutory provision for each subject or area;

ii. the OFSTED view based on inspection data;

iii. issues that have been raised through our consultation process bysubject specialists in each area. This is not a comprehensive list ofissues in each area, but it includes some of the subject specificissues that are not dealt with elsewhere in the report.

The Arts

a.2. Art

i. Art is a statutory subject to all pupils in Key Stages 1-3, althoughfrom September 1998 the details of the Programmes of Study arenot statutory and could be locally determined.

ii. According to OFSTED, progress in art is good or very good in onethird of primary schools. In secondary schools, progress improvesthrough Key Stage 3 and 4, and post-16 pupils make better progressin art than in any other subject. However, assessment is weak in artcompared with most other subjects, and only a small proportion ofschools use the end of key stage descriptors.

ii. There are concerns about the definition of the subject. Visual artsspecialists generally argue that the subject should be named art anddesign, and include craft activities. Currently, art teaching has a strongfine art emphasis, and design and technology a strong manufacturingone. The National Curriculum has imposed a prescriptive model of arteducation which emphasises technical skill at the expense of creativeand conceptual innovation. In art, especially at Key Stages 3 and 4,there is very little craft and design. The curriculum focusespredominantly on drawing and painting. Cutbacks in specialist trainedstaff, increased student-staff ratios and timetabling constraints areplacing a strain on art and design teachers.

a.3. Drama

i. Drama is not a separate subject, but subsumed within the Englishcurriculum, which is compulsory for all pupils in Key Stages 1-4.

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180 Patterns of Provision NACCCE Report

ii. OFSTED inspections suggest that too few schools teach drama.Drama receives little attention in primary school inspection reports,but such references as there are confirm its importance. In KeyStages 1-3 provision for drama is poor because of its low status andlow levels of funding. Objectives are unclear, teachers lackconfidence in teaching it, and practice varies between classes in thesame school. Many secondary reports make no reference to drama.Where it is seen, progress improves slightly at Key Stage 3, andthen considerably at Key Stage 4, primarily through its popularity asa GCSE course. The 1996-97 OFSTED report acknowledges that"good teaching ensures that pupils have a clear understanding ofdrama as a separate art form", but the 1997-98 report states that "inEnglish, drama is often under-represented and the contribution itmakes to speaking and listening skills varies greatly".

iii. Drama is the fastest growing GCSE subject, apart from businessstudies. The place of drama in the curriculum is an area of muchdiscussion among specialists. Overall, they agree that it belongs inan arts curriculum, rather than in English. Drama is a powerful wayof addressing social issues with young people, and of developingpowers of communication and of working in groups. In general, thepotential of drama in social education is not adequately harnessed byschools. There are concerns that too little drama is done for its ownsake, as an art form in its own right.

a.4. Dance

Dance is subsumed within physical education. PE is compulsorythroughout Key Stages 1-4, but dance is optional after Key Stage 2.The relaxed requirements for Key Stage 1 and 2 make danceoptional throughout compulsory education.

ii. According to OFSTED, dance is taught in most primary schools, andalthough achievement varies, it is generally well taught in Key Stage1 and 2. Its inclusion in the programme of activities is often highlydependent on the confidence and knowledge of individual teachers.Dance is provided for the majority of girls at Key Stage 3, but is lessfrequently available for boys. In primary and secondary schoolscontinuity is often broken, with consequent lack of progression inattainment.

iii. The position of dance within PE has provided short-term security forthe discipline, but long-term lack of teachers and too little emphasison the artistic nature of dance. Most dance specialists would preferto see dance as an entitlement within an arts curriculum.Alternatively, the title of physical education (PE) should be changedto physical education and dance. The QCA has changed the name ofthe post responsible for this subject accordingly. Dance has animportant place within youth culture. Education is not drawingenough on that wider culture.

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a.5. Music

i. Music is compulsory in Key Stages 1-3.

ii. OFSTED inspections show that for several years, music has beenone of the best taught subjects in primary schools. The NationalCurriculum has resulted in a considerable increase in the amount ofmusic being taught in primary schools. The quality of teaching in KeyStage 3 is improving, and is already very high in Key Stage 4. Thereis often a lack of continuity in pupils' experience of music, whichmeans that they do not consolidate their knowledge, understandingand skills.

iii. There are problems of equality of access: geographically, economicallyand in relation to gender and ethnic minorities. Music provision nowdepends more and more on the enthusiasms of individual teachersthan on any principle of entitlement. The United Kingdom offers anunparalleled range of musical activities, both amateur andprofessional. This range is the envy of our European colleagues,

despite a continual diminution of resources and a historical lack ofattention by successive governments to music education. Certaintrends need to be reversed and some services need to be reinstatedif a crisis in music education is to be prevented. Early identification ofgifted children or specific talents should be encouraged andsupported. There is often a mismatch between the predominantlyclassical music culture of schools and young people's own musicalpreferences. There are concerns that the standard of singing is poorin relation to performance and composition.

a.6. Media Education

i. Media education is subsumed in English, not a discrete area in theNational Curriculum.

ii. Not inspected by OFSTED.

iii. Current provision for media education is based on the minimalNational Curriculum requirement. It is under-resourced and there is alack of formal training for teachers of media education, especially inthe practical aspect of media work. Only 3.3 per cent of time inGCSE English is devoted to this area. This compares poorly withinternational models, for example, Australia, where the arts is one ofeight areas of learning, and within the arts, media education isclearly identified as one of five subject strands. According to theBritish Film Institute, there is a wide split between analytical study(critical work) and the development of creative skills throughpractical work in media education. This is primarily due to the costand complexity of media production technology.


Technology

a.7. Design and Technology

i. Design and technology is a compulsory subject from Key Stages 1-4.

ii. OFSTED data indicates that, although achievement continues toimprove slowly particularly in Key Stage 3 overall achievement

remains lower than for other subjects with the exception ofinformation technology. Pupils' skills in making things are oftenbetter than their ability to design. Low attainment and slow progressare often associated with teachers' lack of subject knowledge andexpertise and by their low expectations of both the most and theleast able pupils. OFSTED recognises the continuing need for in-

service training.

iii. The Crafts Council emphasises that for many schools, the designand technology National Curriculum requires an unrealistic breadthand depth of teacher knowledge. The current Orders do notspecifically mention creativity, nor creative activity. Within thecreative activity of designing and making there are manyopportunities for cultural activities, but these are only infrequentlygrasped, particularly with older students, due to pressures ofgenerating assessment evidence. Design and technology is intendedto provide young people with the opportunities to respond creativelyto the challenge of designing and making products. There areopportunities for a broad creative response in which they decide onthe overall nature of their design, and on what it will be used for,who will use it and where it could be sold.

a.8. Information Technology

i. Information technology is a statutory subject from Key Stage 1-4. InJanuary 1998 the subject became de facto part of the corecurriculum as the only foundation subject with compulsoryprogrammes of study to teach.

ii. According to OFSTED, the spread of attainment and differing rates ofprogress, both within and between schools, are wider in informationtechnology than in any other subject. This relatively new subjectcontinues to present the greatest challenge to primary schoolsdespite the heavy investment nationally. One in three schools in KeyStage 1 and half of all schools in Key Stages 2-4 fail to comply withstatutory requirements. Achievement in information technologycontinues to lag behind that of other subjects. At present, too fewteachers are qualified to teach this subject and are expected to teacha wider range of technologies than those in which they areadequately qualified. They are expected to teach to an inappropriatelylarge class for such a 'hands on', practical based topic.

iii. Centrally co-ordinated funding is required to ensure that teacherscontinue to be prepared to teach the subject. It may be that due to

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the specialised nature of information technology it should beresourced regionally, with highly qualified teachers covering morethan one school for a given technology. Assessment methods mustbe developed which better reflect the creative element of thestudents' work. Students' work is usually assessed individually.However, the development of team working skills is seen asinvaluable by future employees. This approach to problem solving isnot given sufficient weight at primary or secondary level. Work atsecondary school often duplicates that at primary level. Theintroduction of project-based work at this stage would ensure thatthe basic grounding in information technology learnt at primary levelis built on. Students are increasingly familiar with the use of theInternet, and this should be exploited with industry contributing tothe information available. The opportunities for careers in informationtechnology must be actively promoted from Government throughindustry, and into colleges and schools.

a.9. Science

i. Science is a statutory subject for Key Stages 1-4 with compulsorytesting at the end of Key Stages 1-3.

ii. OFSTED reports show that pupils' achievement in science is better than

in most other subjects. Progression between Key Stage 1 and 2 andbetween Key Stage 3 and 4 is often not well co-ordinated: tasks set forchildren often fail to build on previous learning and little new knowledgeis encountered. Work in experimental and investigative science is oftennarrow, carried out to a format prescribed by the teacher.

iii. The National Curriculum does not support approaches which seescience as a creative and imaginative activity. The curriculum iscontent based and does not encourage creativity; neither does itprovide sufficient opportunities for children to develop anunderstanding of the history of science and the role of differentcultures. It does not sufficiently acknowledge the approaches, orroles of different cultures in science. Primary schools have fewproblems in linking the arts and science in spite of the NationalCurriculum. For example, children have an opportunity to watchtheatre groups introduce science through drama, often helping tomake difficult scientific concepts more accessible to them. Sciencebased theatre is an approach which teachers know about and arewilling to use, even with restricted school budgets. Science issometimes recorded creatively, through painting, poetry and role-play. Where children and young people are offered opportunities tolink science with the creative arts the results can be very positiveand offer pupils the opportunity to view science from different andoften unique perspectives. At secondary level, the divide betweenscience and the arts still remains. In the past students were eitherarts or science. Students who combine science and arts subjects arestill the exception rather than the norm, although there is evidencethat these barriers are being broken down.


a.110. Humanities

i. Both history and geography are statutory foundation subjects fromKey Stages 1-3.

ii. Pupils' progress in geography does not compare well with othersubjects, but in history, in more than one quarter of schools pupils'progress is good or very good and the proportion of schools wherepupils underachieve is lower for history than for almost all othersubjects. Geographical skills are insufficiently practised andconsolidated within investigations in Key Stages 1 and 2.

iii. There are grave concerns about the impact of the relaxation of theNational Curriculum on humanities subjects at GCSE and A Level.The contribution of the humanities to creative and culturaldevelopment is not sufficiently recognised. Most people can seehow the humanities can link with creativity, but too few think ofthem as creative. Yet, for all the strictness of the disciplines, thatessentially is what the humanities are. The humanities offers anunderstanding and an interpretation of human behaviour. Thecreative process allows for imaginative activity in making andinterpreting connections. These skills can help young people tomake sense of their environment and past. There is a deeply-rootedsense in which people identify 'their' culture in terms of the pastand/or their surroundings.

a.1 "O. Physical Education

i. Physical Education is a statutory requirement for all children in KeyStages 1-4, although the programmes of study are currentlysuspended.

ii. OFSTED reports that progress in physical education is generallysatisfactory or good in about three in ten primary schools and GCSEcourses have a positive effect on levels of attainment at Key Stage 4.Short modular programmes, often found at Key Stage 3, limits pupils'progress.

iii. The contribution of physical education to creative and culturaleducation needs to be more clearly defined. While concentrating onthe physical development of children, PE and sport are inextricablylinked to cultural values and traditions. An ability to abide by therules, co-operate with others, play fairly, and applaud a goodperformance, are sporting conventions which make for law abidingand committed citizens. PE and sport help to reinforce the conceptof self-worth within an individual through improved personalperformance linked to an increase in knowledge and understandingof one's own quality of performance. The diversity and range ofphysical activity and sport provides pupils with many opportunities toexperience different forms of physical, emotional and socialexpression. In dance and gymnastics there is a close association

18 4Patterns of Provision NACCCE Report 185

with the notion of creativity and aesthetic appreciation, whilst ingames the competitive team approach provides opportunities forindividuals to share success or failure in a controlled, safeenvironment. The varied nature of PE and sport provides challengingopportunities for pupils to develop their problem-solving abilities,creative thinking, social skills, and physical prowess as part of theircontinued development within society. A minimum entitlement tophysical education should be guaranteed for all pupils in all schools,along with appropriate training for teachers. A national strategy forsport is lacking. A more co-ordinated approach to the accreditation ofsports coaching in all activities should be sought, together with astrategic overview of how national governing bodies of sport canwork more effectively and cohesively, both together and with the PEprofessions, schools, teachers and parents.

a."02. Religious Education

i. Schools are required to teach religious education (RE) at Key Stages1-4, but syllabuses are locally determined.

ii. According to OFSTED reports, achievement in religious educationhas shown an improvement in recent years. There are now fewerschools where pupils underachieve; however, good standards areless common than in most other subjects. In Key Stage 4 inparticular, progress in many schools is limited by the lack of timeavailable for the subject, the lack of expertise of many non-specialistteachers and lack of challenge and imagination.

iii. Religious Education in schools has been gradually changing over thepast quarter century or so to accommodate religious and secularpluralism. The subject has increasingly been concerned with issuesof multi-culture and has shifted from a single religion and rathertextual focus, to a concern to a concern with religious and culturaldiversity. The shift from a primarily textual approach has generated avariety of approaches to using the arts as a means to enhancereligious education, ranging from performance or other forms ofartistic practice as a means to spiritual or religious expression to astudy of artistic works within religious traditions as a means tounderstand religious language and feeling. There are severalconcerns within the RE community in relation to creative and culturaleducation: that policies on cultural education and development,should take a wide view of 'culture', the concentration on literacyand numeracy at Key Stage 1&2 could inhibit creative developmentsin RE; that the introduction of new fields, including citizenship,

should acknowledge the importance of the contribution of RE; andthat work on spiritual, moral, social and cultural development shouldfully involve, Religious Education.


b Teacher Education

b.1. The information in this section mainly represents the official OFSTED andTTA views on teacher training. Comments from the RSA report on teachertraining in the arts is also included, as well as some additional informationfrom the consultation. As indicated in Chapter Ten, current provision inteacher training can have far-reaching effects on creative and culturaleducation. It is therefore important and helpful to know what this currentprovision entails in each subject area.

Art

b.2. There are 30 providers of the Postgraduate Certificate in Education in artin England. There are currently about 1000 trainees, of whom about 70-80per cent go into full-time employment as teachers. Most courses recruit ahigh calibre of trainee; many are mature students who have engaged in arange of different, but relevant, experiences of the subject, including anumber who have previously worked professionally as designers and invarious capacities as community artists. Completion rates are good butstatistical monitoring is of variable quality.

b.3. Training in art is predominantly of good or very low quality. The proportionof courses with serious weaknesses (3.7%) is very low. Strengths in thetraining are the distinctive quality of many of the subject mentors inschools and the model which they provide of good studio and classroompractice. Subject tutors are very good at drawing on the range of talentand experience which the trainees bring with them and challengeindividuals to extend their own range of skills and understanding. Theyalso provide a very good lead for trainees in demonstrating how to plan,monitor, display, discuss and assess the work of pupils in the secondaryage-range. A small minority of courses have some weaknesses in co-ordination across the partnership.

b.4. No significant weaknesses were found in the subject knowledge andunderstanding of the trainees. A high proportion of art courses have goodor very good grades in this area of the standards. In planning, teaching andclass management, the majority of the art trainees at one course in fourare very good and very few courses have a significant minority of onlyadequate trainees. Planning for progression is a particular strength, thoughin a few courses progression from Key Stage 2 could be better understood.Trainees show imagination in recognising the needs of individual pupils.The teaching is very often sensitive, confident and challenging. Time andphysical resources are managed well, but trainees have limited access toICT facilities for art in partner schools. Standards are also unusually high inmonitoring, assessment, recording, reporting and accountability. Thetrainees know how to assess pupils' work against the National Curriculumand how to help pupils build up personal portfolios. They provide commentand feedback to individuals, have a good understanding of reportingprocedures, and understand the external standards used to judge pupils'work at GCSE, A-level and in vocational courses.

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Dance

b.5. Physical illiteracy is a problem in both schools and teacher education. Toomany pupils, and consequently too many of those entering the teachingprofession, find difficulty in achieving control and subtlety, moving withsensitivity, exploring, exploiting and understanding the dynamic quality ofthe movement itself. They find the control of tension and relaxation, clarityand precision in movement, difficult. Too many prospective teachers havelimited ability to observe and report intention and meaning, cause andeffect, in the movement of others. The circle of deprived physical literacyis thus reinforced.

b.6. There is an acute lack of teacher training in dance education and a greatneed for trained specialist teachers in primary schools. Many students arenot allowed to do PGCE courses with dance, so they have to do PEcourses with a total of 6 hours dance training. It is often difficult for dancePGCE students to find jobs, because schools prefer PE specialists. PEshould not be the only training route to dance education. The short-termfocus should be on INSET training for dance and the funding to resourceit. The opportunity of providing INSET training through ICT should bepursued, as there is currently funding available for ICT development. Thedance education sector should not miss the opportunity to establish aplace in the National Grid for Learning. Many PE teachers, especially male,are nervous of teaching of dance. Although the PE link can be positive forboys, some male PE teachers are patronising towards dance. Propertraining could remedy this situation.

Drama

b.7. There are 7 secondary PGCE courses offering specialist training in drama.All are being inspected by OFSTED, but so far only one inspection hasbeen completed. Evidence from inspections conducted 4 or 5 years agosuggests that good provision is being offered in at least some of them.From a training point of view, the picture is quite encouraging.Furthermore, evidence suggests that newly qualified teachers (NQTs) aregetting jobs and there are sufficient specialist posts available to absorb thenumber of NQTs available. The TTA is considering whether it shouldrequire PGCE drama courses to cover the ITT NC (Initial Teacher TrainingNational Curriculum) for English as well as drama. While most, if not all,drama courses include some training in the teaching of English (reflectingthe statutory place of drama within the National Curriculum Orders forEnglish) there is anxiety amongst providers at the prospect of deliveringthe full ITT National Curriculum for English as well as providing specialisttraining in drama. Their concern is that this could lead to the demise ofspecialist drama courses, and consequently have a major impact on thedelivery of the subject in schools

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Music

b.8. There are 25 providers of PGCE secondary music training in England. Thegeographical spread of provision leads to clusters (eg. London and SouthEast), and deserts (eg. East Anglia). There is a number of well-established,good courses with full-time tutors, sometimes teams of tutors whoprovide ITT, in-service teacher training courses (INSET), and also higherdegrees in their institutions. However, there are other courses wheremusic is staffed by a part-time tutor who is only responsible for thesecondary PGCE and where staffing seems vulnerable and isolated fromthe institution's overall provision. There has been under-recruitment onalmost all courses, perpetuated this year. Music became a shortagesubject in 1998-99. There are relatively few students from conservatoireson PGCE courses. There are eight conservatoires nationally, and onlyLondon, Manchester and Birmingham PGCE courses are attractingconservatoire graduates.

b.9. Overall, students are well qualified, committed and strong candidates forteaching. However, undergraduate courses are variable too variable

in their ability to provide a secure foundation for a career in musiceducation. Graduates show an over-emphasis on solo performance study,with a lack of versatility. In particular, many have had little or no training inmusic technologies, vocal work, composition or world music repertoire.These latter are essential as we approach the millennium. Where studentsdo have strengths in these, they adapt well and quickly to the demands ofthe National Curriculum, particularly in Key Stage 3. Most students havedone GCSE themselves, but the newer elements have not yet penetratedA level or degree courses.

b.10. Partnership between HEI and school music departments relies often veryheavily on very small numbers or even single members of staff in schools,which places a heavy burden on mentors. In some regions, HEIs havedifficulty in finding sufficient departments of quality for training placements.

b.11. Training in music is good or very good in over four-fifths of courses, but afew courses have significant or serious weaknesses. Those providerswhich audit musical knowledge, but also provide opportunities to extendand apply it during the course tend to provide training of good quality.Central training sessions, including those involving visiting tutors andmentors, are almost always better than subject training which takes placein schools. Mentors bring many strengths to courses, but most need tohave a clearer understanding of the standards as they relate specifically toplanning, teaching and managing the music curriculum. On about two-thirds of courses, trainees' planning and teaching are good or very good.However, in one course in three, a significant minority of trainees need toimprove, particularly in their teaching in Key Stage 3 when pupils areorganised in groups and participating in complex practical workshops.

188Patterns of Provision NACCCE Report 189

Design & Technology

b.12. There are 42 providers of D&T courses in England. Most courses do notattract high numbers of applicants and are unable to meet their target setby the TTA. Over a third of providers are only adequate in their admissionspolicy and selection procedures. Many recruit trainees from a broad rangeof degree backgrounds, often poorly matched to the requirements of theNational Curriculum in D&T.

b.13. The quality of D&T training is improving. Two-thirds of courses providegood or very good quality training. However, the proportion of very goodtraining courses is comparatively low. In a third of the courses, significantimprovements are required to bring them up to a good standard.Significant weaknesses include low-quality training in the school-basedelements of courses, lack of sufficient subject enhancement, and a lack oftraining in trainees' specialist D&T fields, particularly in food and textiletechnology. In a minority of providers, some weaknesses in the trainingare found where staff have not kept up with current developments in thesubject, or lack rigour and challenge in their teaching.

b.14. Trainees' knowledge and understanding are good in just under three-quarters of providers, and, in one case, the majority of the trainees werevery good. However, just over a quarter of courses have a significantminority of trainees with only adequate subject knowledge. Three-quartersof courses equip their trainees to plan, teach and manage the D&Tcurriculum to a good standard, and in one course, the majority of thetrainees were very good in these respects. However, few trainees areoutstanding, and a quarter of providers produce trainees a significantminority of whom have only adequate planning and teaching skills.

b.15. Just under half the providers were graded good on their trainees'monitoring, assessment, recording and reporting of pupils' progress andachievement, but none had sufficient numbers of very good trainees to begraded very good. There are significant weaknesses in the standardsachieved in this area in just over half of the D&T courses inspected, ahigher proportion than in most subjects.

English

b.16. There are currently 73 training courses for secondary English teachersacross the country. Most courses successfully meet the recruitmenttargets set for English by the TTA and recruit high calibre trainees.Selection procedures are mostly good or very good. Further improvementsare required, in a minority of partnerships, in the rigour of selection tasks,particularly to assess the quality and accuracy of applicants' use ofEnglish. The training provided by schools and tutors is good or very goodin 80 per cent of courses. Strengths exist in the range of approachescovered and training for classroom management. However, training inplanning needs sharpening in a significant number of courses, as do

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arrangements for meeting the diverse range of training needs of trainees.Insufficient time is given to preparation for teaching basic literacy skills ona significant number of courses.

b.17. Trainees in most partnerships achieve good or very good standards in thesubject knowledge required to support effective English teaching.Trainees' planning, teaching and class management are at least good inalmost all courses. However, one important area in which a significantminority of trainees have shortcomings is the clarity and precision of theirplanning for pupils' progress in relevant skills, knowledge and concepts.

b.18. Trainees' standards in monitoring, assessment, recording, reporting andaccountability are at least good in most courses. However, moreconsistency is required in the assessment and recording of pupils'performance in speaking, listening and reading, with assessment betterused to inform planning and evaluation.

Geography

b.19. There are 42 geography teacher training courses across the country.Admissions policies and selection procedures for geography courses aregenerally of very high quality and a good number have several outstandingfeatures. High calibre trainees are recruited and there is a very high levelof completion and award of teacher status. However, geography is now ashortage subject and not all courses met their target numbers for 1997-98.

b.20. The quality of training and assessment of trees is good or very good inseven out of ten geography courses. However, in two courses, bothtraining and assessment were poor. A distinctive strength in the training isthe outstanding quality of much of the teaching by geography tutors.There are also some tutor partnerships where excellent co-operationbetween mentors and the geography tutor provides challenge andrigorous training. Weaknesses mainly arise from variations in the quality ofschool departments, insufficient understanding of the QTS standards, orthe lack of resources or opportunities, for example for trainees to use ICTin geography lessons.

b.21. In nine out of ten geography courses, trainees' subject knowledge is goodand in more than a quarter it is outstanding. Areas of weakness in aminority of courses are the trainees' understanding of progression fromKey Stage 2 to Key Stage 3, and their appreciation of the role thatgeography plays in vocational courses. In nine out of ten geographycourses, trainees' planning, teaching and class management are good.They teach lively lessons, with clear exposition, effective questioning anda wide range of teaching strategies and resources. Weaker trainees arenot clear enough in identifying geographical learning outcomes and do notplan sound assessment opportunities as part of their lessons.

1OPatterns of Provision NACCCE Report 191

b.22. Trainees' standards in assessment are good in about seven courses out often. Significant weaknesses were identified in just over a quarter of theproviders. Geography trainees often know the principles of assessment,but in practice rely too much on written tests and miss opportunities toassess pupils' progress through observation and intervention. Few useassessment information systematically to adjust their teaching.

History

b.23. There are 28 teacher training courses in history in England. On admissionspolicy, history has a comparatively high proportion of very good grades anda relatively low proportion of adequate grades. Few providers have anydifficulty in meeting the TTA's recruitment targets. Completion rates rarelyfall below 90 per cent. Some well-qualified trainees are not able to find apost because the demand for history specialists is declining.

b.24. The quality of training in history is almost always good or very good, witha high proportion which is very good. Centrally-provided training has goodcontent, and is taught effectively; feedback from tutors and mentors onclass management and teaching methods is often of high quality. The bestcourses audit, and where necessary, extend trainees' subject knowledge.History trainees are predominantly good in subject knowledge, and in onecourse in three the majority of the trainees are very good in their grasp ofthe concepts and content they are teaching. They understand progressionthrough the Programme of Study. Almost all are familiar with examinationsyllabuses and broader assessment requirements, but the degree ofunderstanding of post-16 history and of ICT as applied in historyclassrooms varies a good deal between courses.

b.25. In planning, teaching and class management, history trainees are mainlygood, and a very much lower proportion of history courses have onlyadequate standards in this area. Trainees plan effectively for teachingNational Curriculum history, have high expectations, present materialclearly and with enthusiasm, and are sensitive to individual abilities andneeds. Some trainees in a minority of courses have minor shortcomings inplanning for progression; for developing pupils' social, moral and culturalunderstanding through history; and in linking assessment information toplanning.

b.26. In monitoring, assessing, recording, reporting and accountability, historytrainees perform better than those in most other subjects, but even sothis is the weakest area of the standards in the subject. There arestrengths in marking, feedback and record-keeping and in the trainees'sound knowledge of the level descriptions and of GCSE assessment. Theweaknesses relate mainly to the links between assessment and planningand to the lack of range and depth in the trainees' experience across theage-range.

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Mathematics

b.27. In England there are currently 75 training courses for mathematicsteachers. The recruitment of suitably qualified mathematicians to train assecondary teachers remains a major problem. Despite strenuous efforts,the PGCE courses inspected in 1997-98 only recruited to just of 20 percent of their TTA target. There is also a less well-recognised problem' inretaining trainees until the end of the course. In 1997-98, 26 per cent of .

the trainees recruited failed to gain qualified teacher status. Around sevenper cent were encouraged to leave during the course because they werefailing to meet the required standards.

b.28. A fifth of the training courses are very good; a quarter are adequate, butneed significant improvement; the rest are good. Four-fifths of thecentrally-provided training sessions were good and over a third of thesewere outstanding. Trainees work in schools with good mathematicsmentors were also of good quality. Common weaknesses are a lack ofclarity and specificity in feedback to trainees on their teaching andinsufficient guidance on how to assess and record pupils' progress. In athird of the courses, there is also a lack of rigour in assessing and makinggood deficiencies in trainees' own mathematical understanding.

b.29. There were two courses where standards of mathematical knowledge andunderstanding were poor and a small minority of courses where very fewof the trainees reached a good standard. However, most trainees in mostcourses had a secure understanding of the concepts and skills necessaryto teach mathematics across the 11-18 age-range. The main weaknesseswere a shaky understanding of progression from Key Stage 2 and of thelevel descriptions for mathematics.

b.30. Few mathematics courses achieve very good or good grades for planning,teaching and class management. There is some excellent teaching bytalented trainees, but a large minority rely excessively for their planning onschools' schemes of work, and are not precise or methodical enough indefining learning objectives for lessons. The range of materials andapproaches which trainees are encouraged to try out is unduly narrow insome schools. Opportunities to use ICT in mathematics lessons veryconsiderably; for some trainees, access to ICT in schools is limitedbecause of timetable pressure on computer rooms.

Modern Foreign Languages

b.31. There are 70 HEls who offer teacher training courses in modern foreignlanguages in England. Many providers try to widen their recruitment baseby targeting final-year degree students, local residents and graduateforeign nationals. The proportion of foreign nationals recruited is risingsteadily. However, over the two years 1996-97 and 1997-98 there was anational shortfall of 27 per cent against the TTA target. The calibre ofmodern language trainees is predominantly good and on average 85 per

1 92Patterns of Provision NACCCE Report 193

cent gain qualified teacher status. This compares reasonably well withother shortage subjects such as mathematics.

b.32. There is some training of outstanding quality. Most partnerships are goodat training their modern linguists in classroom management and whole-class teaching. However, one course in three needs to make significantimprovements in assessing, monitoring and enhancing trainees' owncommand of the languages they teach. One course in four has significantweaknesses in showing trainees how to plan for progression, in trainingthem to assess and record pupils' progress in the foreign language, and inapplying the new standards consistently to the assessment of trainees.These weaker courses are predominantly small ones, and almost half arenew providers. The main shortcoming tend to be located in the school-based elements of the training.

b.33. In nine out of ten courses, the majority of the modern language traineesare good or very good in their subject knowledge. In four out of fivecourses, the majority of the trainees reach good levels of classroommanagement and subject teaching skill. However, in the one course in fivewhere trainees are only adequate in this area of the standards, planningfor progression constitutes the most common significant weakness. Inassessment and recording, very high standards are rare and, in one coursein three, trainees are significantly weaker in this aspect than in others.This almost always relates to defects in the timing, content and delivery ofthe training.

Physical Education

b.34. There are 32 teacher training courses in PE across the country. The levelof applications is buoyant. Trainees are selected who are suitable forteaching, and many are enthusiastic and committed games players.However, most applicants have first degrees whose content is not closelyrelated to the PE National Curriculum. Physical education training sessionsin the HEIs are consistently of good or very good quality. However, toomany physical education teachers in partner schools have yet to recogniseand fully implement the stronger training role assigned to them by currentgovernment circulars.

b.35. Trainees' subject knowledge and understanding are good in four out of tenproviders, but in more than half the courses inspected, a substantialminority of the trainees have significant weaknesses. This profile is belowall other subjects and is a cause for concern. Trainees' planning isconscientious in many aspects, but lacks precision in defining what is tobe learned. Half of the teaching is good and half adequate in quality. Classmanagement, organisation and control of pupils are predominantly goodbut effective learning is not promoted consistently, as a result ofweaknesses in initial planning.

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b.36. The weakest standards are in trainees' ability to assess, record and reporton pupils' progress and achievement. Only in a quarter of the courses arestandards predominantly good. In the other courses, insecurity in definingwhat is to be learned and the generally weak quality of assessment,recording and reporting in schools undermine their ability to developeffective judgements of pupils' progress and achievement.

Religious Education

b.37. There are 42 RE teacher training courses offered by HEls. Nearly half ofproviders fall short of the TTA target because of shortages of suitablecandidates, or, in some case, insufficient good quality RE schoolplacements. The quality of trainees varies widely. Completion rates arevariable but, on average, just under 90 per cent. Take-up of teaching postsis high.

b.38. The great majority of the training in RE is good or very good but, at 28 percent, the proportion of only adequate training is comparatively high. Onefactor which impedes trainees in achieving the standards for QTS is theweakness of statutory RE in some of the placement schools. The majorityof training sessions in the HEI providers are of good quality. Good qualityprovision is characterised by partners having shared aims and school-based tasks being jointly planned and integrated into school-based andHEI-based provision. Weaknesses in subject knowledge are generallyaddressed well.

b.39. RE trainees invest much time in developing appropriate subjectknowledge for teaching their subject. As a consequence, they are goodoverall in subject knowledge. In one course out of four, the majority oftrainees are very good in their understanding of the key concepts, skillsand content to be taught. All trainees understand the statutoryrequirements for teaching the subject to the 11-18 age-range according toa variety of agreed syllabuses. Their understanding of examination coursesand broader assessment requirements is dependent largely upon theprovision for RE in their placement schools.

b.40. In planning, teaching and classroom management, RE trainees are good intwo out of three courses. The majority of trainees plan their workeffectively to meet the requirements of local agreed syllabuses. The besthave marked ability in challenging pupils to think, question and respond,with a clear focus on the understanding of beliefs and values. For aminority of trainees, imprecision with teaching and learning objectivesresults in the choice of less appropriate learning activities. In two coursesout of five, a significant minority of trainees do not understand fully theinterrelatedness of planning and assessment. However, many havedeveloped particular strengths in marking, feedback and record-keeping.

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Patterns of Provision NACCCE Report 195

Science

b.41. There are 74 providers of science teacher training courses across thecountry. Science remains a shortage subject. The main shortfall is inphysics and, to a lesser extent, chemistry, which leads to science groupsin which biologists predominate. Failure to reach the target number set bythe TTA is widespread, though some providers meet or come close to thetarget through intensive recruitment efforts. Courses do not attractscience graduates of the highest calibre.

b.42. Training is good or very good in just under three-quarters of providers,leaving a quarter with a need for significant improvement. Almost half ofthe centrally-provided training sessions are outstanding. Mentors make anincreasingly systematic contribution to the training and four-fifths ofschool-based sessions are of good quality. Key areas for improvement arethe monitoring and extension of trainees' subject knowledge and theconsistency of support from science mentors in schools.

b.43. In four out of five science courses, standards in subject knowledge andunderstanding are good, and in a small minority, they are very good.Standards in planning, teaching and class management are markedly lessgood. The breadth of knowledge and expertise required in teaching bothNational Curriculum science and a science specialism may contribute tothis. In about one course in three, the standards are met adequately andfew courses achieve the highest grade. Nevertheless, the majority ofcourses are good.

b.44. In monitoring, assessment, recording, reporting and accountability, thescience grades are significantly worse than in other areas, with slightlymore than two-fifths of courses graded adequate against this set ofstandards. These findings reflect the higher-order assessment skillsneeded by science trainees and the lack of well-planned opportunities inschool science departments that many trainees experience during thePGCE course.

195


Abbreviations, Notes and ReferencesAbbreviations

AOT Adults other than teachersBECTA British Educational Communications and Technology Agency

CPD Continuing professional development

DCMS Department for Culture, Media and SportDfEE Department for Education and EmploymentHEI Higher education institutionsHMI Her Majesty's InspectorateICT Information and Communication Technology

INSET In-service training

IT Information TechnologyITT Initial teacher training

LEA Local education authorityLMS Local management of schools-

NESTA National Endowment for Science, Technology and the Arts

NPQHT National professional qualification for head teachers

NQT Newly-qualified teacherOFSTED Office for Standards in EducationPE Physical education

PSHCE Personal, social, health and cultural education (as defined by

StokeNewington School)

QCA Qualifications and Curriculum AuthorityRSA Royal Society of the ArtsTTA Teacher Training Agency

Notes


1 Digital media, the industry responsible for designing and creating contentfor the internet and other digital formats, such as CD-ROMs, could createup to 80,000 jobs over the next eight years. Some 20,750 people in theUK are employed in digital media, a sector that barely existed a decadeago, according to a study commissioned by the Digital Media Alliance, aconsortium of companies involved with the industry. There are 2,750digital media companies in the UK with combined annual revenue of£687.5m. Roughly 2,000 freelances, mustering combined annual incomeof £50m, work in the digital media sector. The study estimates that 500specialist digital subsidiaries of traditional media groups produce annualturnover of about £187.5m. The work of these companies and individualshas given the UK an international reputation as having "recognisedindigenous talent for creative ideas and cultural innovation". The UK'sdigital media industry has the potential to grow by at least 20 per cent per

196

Abbreviations, Notes and References NACCCE Report 197

year over the next decade, more than double the rate of traditionalcreative sectors, such as film and advertising. It could then employ100,000 people and generate annual revenues of £5bn by 2007. Theeducation system needs to be restructured to train the type of skilledemployees that the industry needs and eradicate its present skillshortages.

2 Creative Development

1 Ford & Harris III 1992; Taylor 1988: 118-119. Calvin Taylor and associateshave traced some 50 or 60 definitions" of creativity.

2 A survey of teachers and lectures found that there was "a pervasive viewthat creativity is only relevant to the arts". Fryer (1996:79).

3 These categories develop a distinction between psychological originalityand historical originality made by Boden 1990:32).

4 The description of these stages has a long history but is primarilyassociated with Wallas (1926:80).

5 Guilford (1975:33-46); Perkins (1994:138). Also Welsh (1975:117).6 Perkins cited in Kirby & Kuykendall (1991:16).

5 Developing the Curriculum

1 Forthcoming OFSTED report under the provisional title of 'Making aDifference'.

2 Christine Agambar HMI (who looks after the Schools OFSTED database) ina speech at OFSTED's Conference 'Good Teaching in the Arts' when 'ArtsInspected' publication was launched at Woodford Lodge, Winsford inCheshire, Summer 1998.

3 John Hertrich, HMI, OFSTED's Senior English HMI speaking at the NWDrama 3-18 Conference in January 1999.


1 What a person does in terms of creativity "will grow out of his or herconception of personal actualities and potentialities" (Perkins 1981:272).For the role of self-image in adult expectations which facilitate creativeacts, see MacKinnon (1962), MacKinnon (1970), Bergum (1973), Bergum(1975) and Kirton (1989) all cited in Ford (1995:24). Also Minkin (1997:117-118).

2 On the beneficial effect of the directive to "be creative" see Datta (1963),Cummings, Hinton & Bobdel (1975) and Fontenot (1993) cited in Ford &Gioia (1995:35). Disposition has been judged to be very important increative behaviour (Craft et al 1997:79 citing Perkins, Jay & Tishman1993).

3 Craft (1997:28); Fryer (1996:124); Hubbard (1996:47-64); Torrance (1984);Paul, Torrance & Dorothy (1997).

4 Armbruster (1989: 177-182); Pesut (1990:105-110). For evidence tosuggest that metacognitive behaviour is modifiable and metacognitiveskills teachable, see Nickerson, Perkins & Smith (1985:294-302).

1817

198 Abbreviations, Notes and References NACCCE Report

7 Raising Standards

1 For a full description of Project 1000 see Fryer, Creative Teaching andLearning, Chapman, London, 1996; p111-118. We are grateful to MarilynFryer for helpful advice on the assessment of creativity.


1 Further information available from the DCMS.

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204


Text

Acknowledgements

Our work has been informed by a broad range of organisations and individuals,including:

o written submissions from over 200 groups, organisation andindividuals;

o consultative meetings with specialists in key areas;O commissioned research and advice from:

O the National Foundation for Educational Research;O the Teacher Training Agency;O the Office for Standards in Education;O the Department for Culture, Media and Sport;O the Qualifications and Curriculum Authority.

In addition we are grateful to Professor Angela Anning (Department of Education,Leeds University); Professor Peter Ashworth (Learning and Teaching Institute,Sheffield Hallam University); Anna Craft (Senior Lecturer, The Open University); DrMarilyn Fryer (Leeds Metropolitan University and The Creativity Centre, DeanClough) and Professor John White (Institute of Education, University of London)for particular assistance in providing research advice and discussions of theconcept of creativity and the processes of creative education.

We are also grateful to the following people for commenting on drafts of the text:o Maud Blair (The Open University)o Peter Cotgreave (Save British Science)o Anna Craft (The Open University)o Penny Egan; (Royal Society for the Encouragement of Arts,

Manufactures and Commerce)O Professor Anthony Everitt (Independent)o Dr. Marilyn Fryer (Leeds Metropolitan University and The Creativity

Centre, Dean Clough)O Rick Rogers (Independent)O Peter Stark (Gateshead Council)o Pauline Tambling (The Arts Council of England)

We are grateful to all the schools and organisations that have supplied examplesfor this report and to everyone who has contributed to our work.

20 5


Photographs

We are grateful for permission to re-produce the work of the followingphotographers:

Simon Warner p.34o Chris James p.45, p.126o Justine (model, Korrina at Models One) p.73

Gill Watson p.106Keith Pattison p.163

o Justin Slee p.167

Cover Photograph:

Tony Stone Images

20 6


Research and Consultations

Consultative Meetings

Specialist consultative meetings were held on the following topics:

Art, Craft and DesignArtists in EducationArts Education ManagersCreative DevelopmentDance EducationDrama Education

Fashion DesignPrimary EducationScience EducationSecondary School CurriculumStandards and EffectivenessTechnology EducationMulticultural EducationWork, Creativity and the Economy

The following delegates attended these meetings:

A Judith AckroydCarol AdamsDr Philip Adey

Diane AndersonDavid ArbuckleWilliam AtkinsonJohn Auty

Prof Michael BarberKen BartlettNorinne BetjemanJulia Bird

Anne BlaberMaude BlairPenni Blythe

Jane BoistelleBetina BotcherSteven BowkettSonia Boyce

Jane BrakeSally BramptonMike Buchanan

Kate Burnett

2t)7

Nene University CollegeShropshire County Education OfficeKing's College LondonLongdale Community SchoolRover Group

Phoenix High SchoolNottinghamshire County Council

DfEE

The Foundation for Community DanceArts Council of EnglandPoetry Book SocietyChildren's Music WorkshopOpen UniversityHamdon Education and Training

Marks & Spencer PlcMarks & Spencer PlcIndependent

African & Asian Visual Artists AssociationIndependentIndependentMarks & Spencer PlcIndependent

208 Reseaich and Consultations NACCCE Report

David Bryan

Paul Bunyan

Stephen Burroughs

Russell Chalmers

Patricia Clark

Peter Clark

Veronica Clark

Caroline Coates

Pat Cochrane

Steve CockettIan Cole

John Connell

Ruth CormanSarah Coverdale

Anna Craft

Cecilia CrichtonMichaela CrimminSue CrockfordChris Crowcroft

ID Stephen DaggProf Wendy DagworthyAmanda DaltonPaul Dash

Heather DauphinJanet DawsonSteven DerrickHelen Dilly

Maura DooleyRoger Durston

Sangeevini DuttaMaggie Dwyer

Sian Ede

Claire Edis

Penny Egan

Brian Eno

Rachel Elliott

IF Andrew Fairbairn

Patrick Fallon

Rosemary FeaseyTony Fegan

Mike FlemingHelen FletcherLinda Florance

Dr Lynda FosterCaryn Franklyn

IndependentNIAS, NATE

The Crafts Council

The Hoist GroupAvondale Park Primary SchoolConfederation of British IndustryPashley Down Infant SchoolIndependent

Cape UK

University of ExeterMOMAIntake High School

Designer Crafts FoundationArts Council of EnglandThe Open UniversityCHEAD

RSA

123 Productions LtdFoundation for Young Musicians

Centre for Young MusiciansCentral St. Martin's CollegeThe Arvon FoundationGoldsmiths CollegeHampstead SchoolDfEE

Phoenix Dance CompanyTheatre Royal BuryIndependentMusic Education CouncilIndependentTUC

Calouste Gulbenkian FoundationSt. Clement Danes SchoolRSA

IndependentGreen Candle Dance Company

British Federations of Young ChoirsDCMS

The Association for Science EducationLIFT

University of DurhamFar Town School

CAPITB Trust

IndependentIndependent

208Research and Consultations NACCCE Report 209

Moira Fraser SteeleJames FrielKerry Furneaux

Sue Gibbs

Tina Glover

Brian Godbold

Jackie GoodmanMarion GoughRuth Gould

Jacqueline GreavesJoy GregoryRichard Gregory

Hilary Gresty

iii Jane HackettProf David HargreavesTony HarringtonProf Bill Harrison

Kim HaslerVirginia HaworthPenny Hay

Ann HewittClaire HicksNick HigginsMichelle HindCaro HowellSue Humphries

0 Ruth Ingledaw

Irma Inniss

,o Sarah Jackson

Darryl JaffrayProf Edgar Jenkins

Shobana JeyasinghVeronica JobbinsPamela Johnson

Peter JonesLen Judge

Gb Andy KempeBob KelleyColette KingTony Knight

Bill Lind

Janet Lovekin

2b9

Design CouncilIndependentThe Crafts Council

Theatre de CompliciteJunction ArtsMarks 8i Spencer PlcArts PlanIndependentFull Circle

Ludus Dance CompanyIndependentIndependentVAGA

Birmingham Royal BalletSchool of Education, Cambridge UniversityNorthern StageSheffield Hallam UniversityMarks & Spencer PlcArtsworkNSEAD

Whiteheath Infant SchoolSAM PAD

Seagram Europe & AfricaAssociated BoardTate Gallery of Modern ArtThe Coombes County Infant and NurserySchool

Association for Business Sponsorshipof the ArtsIndependent

Stoke Park School

Royal Opera HouseUniversity of LeedsShobana Jeyasingh Dance CompanyNational Dance Teachers' AssociationIndependentDCMS

Synetics Education Initiative

University of ReadingThe Campaign for Music in the CurriculumIndependentQualifications and Curriculum Authority

Ifield Community CollegeMarks & Spencer Plc

210 Research and Consultations NACCCE Report

Shan MacLennan SouthbankLibby MacNamara Association of British OrchestrasChris McIntyre CHEAD

Rohini Malik INIVA

Ken Mannion Sheffield Hallam UniversityGayle Markovitz RSA

Michael Mar land North Westminster Community SchoolSally Millard Hampstead School

Maggie Morris Laban Centre London

Gillian Moore London Sinfonietta

Christopher Naylor Engage

Jonothan Nee lands University of WarwickFrances Newell Newell & SorrellMary Newman DCMS

Helen Nicholson Homerton College, CambridgeRichard Nott Workers for Freedom

0 Ian Oag Allied Domecq PlcMargaret O'Brian South-East ArtsPauline O'Keefe Allfarthing School, WandsworthDavid Oliver Folkworks

Glynis Packman Sackville School

Bob Paisley CCEA

Anice Paterson National Association of Music EducatorsKeyna Paul IndependentRoy Peach London College of FashionDavid Perkins Federation of Music ServicesCampbell Perry Bishopton Primary SchoolCathy Poole Watershed Media CentreIan Potter Ousedale SchoolJane Pountney Children's Music WorkshopMarcus Powell Marks & Spencer Plc

John Rainer National Drama

Caroline Redmond IndependentHelen Reeves Holly Hall SchoolViv Reiss Arts Council of EnglandSimon Richey Calouste Gulbenkian FoundationDamien Robinson IndependentMark Robinson Cleveland Arts

Huw Salisbury South Camden Community SchoolPete Sanders Lauriston Primary SchoolHenk Schut Independent

Anne Schwegmann-Fielding IndependentJo Shapcott IndependentRebecca Sinker Independent

Sally Smith CV Clothing

210

Research and Consultations NACCCE Report 211

Dr Jacqueline Smith-AutardPatrick SpottiswoodeNick Stanley

Dr John SteersProf Hannah Steinberg

Kathy StonierGraham StorrowMichael StotenDavid Sulkin

Margaret Talboys

Pauline Tambling

Helen Teague

Ron Tend ler

Elaine Thomas

Michael ThompsonNicola Thorold

Alister Tipple

W Richard WaltonMike Watkins

Clare WebsterJudith WebsterPaul Weiland

Prof Dick WestLarry Westland

Lindsey WharmbyProf John WhiteRichard Wig ley

Colin WilkinsonDeborah WilliamsJulia WilliamsMark WindaleHilary Wrack

Sheila Young

Written Consultations

National Dance Teachers' Association

International Shakespeare Globe CentreBirmingham Institute of Art and DesignNSEAD

Middlesex UniversityStoke Newington SchoolStadley Primary SchoolThe Voices FoundationIndependent

Qualifications and Curriculum AuthorityArts Council of England1647 LtdIndependent

CHEAD

Design ConnectIndependent Theatre CouncilMarks & Spencer Plc

Sheffield Hallam UniversityLondon Association of Art and DesignEducation

IndependentRoyal Philharmonic Orchestra

IndependentSheffield Hallam UniversityMusic for YouthLawnswood SchoolInstitute of Education, LondonHalle

TechniquestDCMS

Cheshire County CouncilSheffield Hallam UniversityAdzido Pan-African Dance Ensemble

Proper Job Theatre Projects

Written consultations were received from the following organisations andindividuals:

Action for Children's ArtsDr Philip Adey, CAT, King's College LondonAdvisory & Inspection Services Division, Nottinghamshire County CouncilAdzido Pan African Dance EnsembleAfrican & Asian Visual Artists Archive (AAVAA)Akademi

211


Antidote, Campaign for Emotional Literacy-The Anti-Racist Teacher Education NetworkArea Museum Council for the South WestARTS Centre for Studies in Science & Mathematics EducationThe Arts CouncilArts in Education Service, Leicestershire County CouncilArts in SandwellArts Plan

Art Shape LtdArts Work

The Arvon Foundation at Lumb BankThe Associated Board of the Royal Schools of MusicAssociation for Media, Cultural and Communication StudiesAssociation for Science EducationAssociation of British OrchestrasAssociation of Graphic Design EducatorsAxis

Bangor University Music DepartmentBBC Philharmonic

Jo Bello li

Bens low Music TrustBig Brum Theatre in EducationBirmingham City Council Education DepartmentBirmingham Repertory TheatreBishopton Primary SchoolBlackpool Borough CouncilMaude Blair, Open UniversityNaz Bokhari, Ernest Bevin CollegeBolton MetroBoomerang MediaBournemouth Borough CouncilStephen BowkettBradford Metropolitan District CouncilRoger Breakwell, Camberwell College of ArtsBridgebuilder

British Actors Equity AssociationBritish Association of Advisors & Lecturers in Physical EducationBritish Educational Communications and Technology AgencyBritish Federation of Young ChoirsBritish Film InstituteKate BurnettProf Leone Burton, University of Birmingham

Calouste Gulbenkian FoundationDavid A Calverley

Cando Co Dance Company

Camden LEA

The Campaign for Music in the CurriculumCAPE UK


Michael Carden

Prof C R Chaplin, Dept of Engineering, University of ReadingThe Central School of Speech & DramaCentre for Race, Culture & Education, Leeds City Council & Leeds MetUniversityCheltenham & Gloucester College of Higher EducationCheshire County Council Advisory & Inspection ServiceCheshire County Council Education DeptChicken Shed Theatre CompanyChildren 2000Children's Music WorkshopChisenhale GalleryCity of Birmingham Symphony OrchestraCity of York LEACleveland Theatre CompanyNick Clough

Cloughwood SchoolCaroline CoatesStephen Cockett, Lecturer in Drama, University of ExeterCoin StreetCBI

Contemporary Art SocietyAiden CookMartin Cos lett

Peter CotgreaveSue Cottam, St Osmund's Middle School Dorchester Youth Dance &N DTA

Coventry City Council Leisure ServicesCoventry University Performing ArtsProfessor Brian Cox

Anna Craft, The Open UniversityThe Crafts CouncilCreative OptionsSue Crockford, 123 Productions LtdCroydon LEA

The Creativity Centre, Dean CloughCumbria Arts in Education

113 DATA

Barrie Day

Deafsite

Derby City CouncilDerbyshire County CouncilDerby PlayhouseDesign Council

Design MuseumDiscovery, London Symphony OrchestraMildred DobbsDorman Museum

213


Dorset County Council, Expressive Arts TeamDorset County Council Music ServiceDudley LEADudley MBC Leisure ServicesDudley Music ServicesKaren Dust

The Dyslexia Institute

Eastern Arts BoardEast Sussex County Music ServiceEco DistributionEducation ExtraEducational Publishers Council, The Publishers AssociationPenny Egan, RSA

Engage

The English AssociationEnglish National Ballet

Enigma

Brian Eno

Anthony EverittThe Extension Trust, Tandem

IF Federation of Music ServicesLynda Foster PhD

The Foundation for Community DanceMary Fowler, Adviser for English, London Borough of HaveringProf Peter Fowler, Head of Learning Methods Unit, Liverpool John MooresUniversityDr. Marilyn Fryer, Leeds Metropolitan University and The Creativity Centre,Dean Clough)

Mr Oliver GillProf Caroline Gipps, Kingston UniversityGlobal Innovation NetworkGlyndebourne OperaGavin Graveson, Choral Animation ProjectsJudith M Graydon, Headteacher, Parish C of E Primary SchoolGreen Candle Dance Company

The Hamblin Foundation

Ms Gerda HankoHarris Museum & Art GalleryProf Bill Harrison, Centre for Science Education, Sheffield HallamUniversityMr Olaf Hindmarsh, Teacher Adviser for Art & Design & Co-ordinator forArtists in EducationThe Historical Association, Mr Sean LangThe Hoist GroupDr Eileen Hooper-Greenhill, Dept of Museum Studies, University ofLeicester

214.Research and Consultations NACCCE Report 215

Hounslow Borough Council, Education DeptRichard Howlett, Hampshire Music ServiceHuddersfield Creative Town InitiativePat Hughes, Liverpool Hope University

IATS, Norfolk County Council

Ifield Community College, West SussexInclusive Theatre, Interplay Theatre CoIncorporated Association of Preparatory SchoolsIncorporated Society of MusiciansIndependent Schools' AssociationIndependent Theatre CouncilThe Industrial SocietyInspection & Advisory Service, London Borough of Newham CouncilInstitute of International Visual ArtsInstitute of Welsh AffairsISA

ISAI Executive, Academic Policy Committee

Jabadao

Prof Robert Jackson, Director of Religions & Educational Research Unit,Institute of Education, University of WarwickSarah Jackson, Stoke Park School, CoventryProf Edgar Jenkins, Science & Education Policy Unit, University of Leeds,Gay Jessop, Head of Art & Design, Harrytown RC High SchoolJiving Lindy HoppersBev Joicey HMIJunction Arts, Arts Development Agency for District of Bolsover

Keele University, Department of PsychologyBruce KentBarbara Kentish

Ruth Kenward, Music Specialist, Bourne County Primary SchoolSteven KeoghKidbrooke School, Trisha Jaffe

Marilyn Kinnon, Educational Analyst & TeacherKneehigh Theatre Trust LtdKokuma

Saville Kushner, Centre for Applied Research in Education, University ofEast Anglia

LEAP Project, Business Partnership, Tower Hamlets EducationUniversity of Leeds Conference: Creativity in SchoolsLeicester City Council, Arts & Leisure Dept, Museums EducationLeicester City Council, Education DeptLibrary & Information CommissionLinguistics, Carleton University, OttowaLiverpool Dockers & Stevedores Co-Operative & Initiative FactoryLocal Government AssociationLondon Arts Board

k215


London International Festival of Theatre (LIFT)LUTCHI Research CentreLyric Theatre, Hammersmith

M6 Theatre Companymac, BirminghamMaharishi SchoolMalbank School & Sixth Form CentreMEC

Prof Peter Medway, School of Linguistics, Carleton University, CanadaMedway Council, Medway Children's UniversityMETIER

Middlesborough Borough Council, Education & Leisure Dept & Dorman

MuseumThe Midi Music Company, Music House TooMillennium AppealMillennium ChallengeProf Arthur Miller, Dept of Sciency & Technology Studies, UniversityCollege of LondonMargaret MillsMind the Gap Performing ArtsProf Diane Montgomery, Learning Difficulties Research ProjectThe Museum of Modern Art, OxfordMuseums AssociationMuseums & Galleries CommissionMusic for YouthMusicians Union

National Association for Education of Sick ChildrenNational Association for Gifted ChildrenNational Association for the Teaching of EnglishNational Association of Advisors in EnglishNational Association of Advisory Officers for Special EducationNational Association of Head TeachersNational Association of Music EducatorsNational Association of Teachers in Further and Higher EducationNational Association of Writers in EducationNational Association of Youth OrchestrasNational Campaign for the ArtsNational Centre of Children with High Abilities & TalentsNational Dance Teachers' AssociationNational DramaNational Endowment for Science, Technology and ArtsNational Federation of Music SocietiesNational Foundation for Educational ResearchThe National GalleryNational Museum of Photography, Film & TelevisionNational Society for Education in Art & DesignNational Theatre EducationNational Youth Agency

216

Research and Consultations NACCCE Report 217

The New Art Gallery

Newham Council, East LondonNorth Cornwall Arts

North Warwickshire Borough Council Leisure ServicesNorth West Arts BoardNorth Westminster Community SchoolNorthern ArtsNorthern Ballet TheatreNorthern Theatre Educational Trust

Nottinghamshire County Council, Education DepartmentNuffield Design & Technology

Oldbury Wells SchoolDr Susan O'Neill, Kee le University, Department of PsychologyOpera North

Opt for Art Steering GroupOrchard Theatre CompanyOxfam Education

John Palmer, Inclusive TheatreThe Paul Hamlyn Foundation, Patricia LenkesterTony Penny

Melanie PeterJoan M PickPilot Theatre CompanyPlaytrain

Poetry Book SocietyPop -Up Theatre Ltd.

Ian Potter

Christopher PriceProfessional Association of TeachersProfessional Council for Religious EducationProper Job Theatre Company Ltd.

Q Queen Elizabeth High School, Kathy White-WebsterQuicksilver Theatre

Craig Randolph

Reading Borough Council Museum ServiceCaroline Redmond

Religious Education Council of England & WalesRemembering EducationDr Malcolm Rig ler

Rick Rogers

Royal College of Art, Centre for Drawing ResearchRoyal College of MusicRoyal Institution of Great BritainRoyal National Institute for Deaf PeopleRoyal National Institute for the BlindRoyal National Theatre

217


Royal Opera HouseRoyal School of Church Music

Royal Shakespeare Company

Royal Society of the ArtsRoyal West of England Academy

Sackville School, Glynis PackmanSainsbury Centre for Visual Arts, University of East Anglia

St Osmund's Middle SchoolSalongo African & Caribbean Dance & Music Resource ProjectSandwell MBC, Education & Commercial Services DeptSassoon Gallery

Saxon CourtSchool of Drama & Music, University of ExeterSchool of Education, University of Wales Institute, CardiffScottish OperaSeagram Europe & AfricaSEI

Sheffield Galleries & Museums TrustShrewsbury Borough Council Museums ServiceShropshire County Council & Telford & Wrekin Council LEARebecca Sinker, School of Lifelong Learning & Education, MiddlesexUniversitySkilisetSnap People's Theatre Trust Ltd

Society for StorytellingSomerset County Council, Education Development ServiceSouth Bank CentreSouthend Youth Arts PartnershipSouthern Arts BoardSPE

Special Educational Needs National Advisory CouncilStaffordshire Education Quality Learning ServicesStanding Conference of Young People's TheatrePeter Stark

Prof Hannah SteinbergStoke Newington School, Kathy StonierStoke Park School, Sarah JacksonStratford-upon-Avon High SchoolSurrey County Council, Youth Music & Performing Arts

Pauline Tambling, Arts Council of EnglandTameside LEA

Jane Tarr

The Tate Gallery

Techniquest

Technology Colleges TrustRon Tend ler

Thomas Tallis School, Nick Williams


Colin Touchin, University of WarwickTower Hamlets EducationTTA

21st Century Learning

Unicorn TheatreUnited Biscuits (UK) Ltd

V Values Education Council (VECTOR)Victoria & Albert MuseumVisual Arts & Galleries AssociationThe Voices Foundation

W Walker Art GalleryWalsall MBC, The New Art GalleryWarwickshire Artists' TeamDonald WattsWeekend Arts CollegeWelfare State InternationalDr R N Wells, Analytic PsychotherapistWest Midlands ArtsWest Midlands Regional Arts Education Partnership, DudleyWhitechapel Art GalleryWhiteheath Infant & Nursery SchoolNuala Willis

Colin WilkinsonWilnecote High SchoolAudrey S WisbeyWomen's Playhouse TrustThe Writers' Guild of Great BritainWWF United KingdomWyke College

Young Writer

City of York Council, Schools Advisory & Support ServicesYorkshire & Humberside Arts BoardYvonne Arnaud Theatre & Pied Piper Theatre Company

219


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