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July 8, 2016 by Emese Hall and Penny Hay

The power of the arts in primary schools

The arts are essential in life. They can shape and define who we are and how we understand ourselves and our possible selves.  It is a travesty that in some quarters the arts in schools are increasingly regarded as unnecessary.  We see dance, drama, music and visual arts as fundamental to cultural engagement and personal development.  Artistic experience fuels imagination and in turn imagination fuels creativity. Within CPR’s curriculum framework, the arts are linked to creativity as one of eight essential curriculum domains – although CPR emphasises that creativity is not regarded as exclusive to the arts.

The instrumental argument for the inclusion of the arts in education is that they foster transferable skills and boost overall academic achievement, leading to better future work opportunities, enhanced well-being and self-esteem.  In contrast, the essentialist view, underlined in an earlier blog from Robin Alexander, is that the arts are valuable for their own sake and should not just be seen merely as tools for other kinds of learning. Elliot Eisner’s ten lessons the arts teach resonate beautifully with CPR’s aims.  They propose that the arts provide space for personal judgement; help problem-posing and thinking outside the box; promote diversity, respect and intercultural understanding; show that making mistakes can be liberating and open up new opportunities; encourage looking at details and thinking in depth; allow the creation of a personal reality; provide therapeutic benefits and support emotional literacy and make us feel alive.

Children don’t experience learning as separate parcels of knowledge to be opened. They flow from one form, with different ways of exploring and expressing, to another.  They use what Loris Malaguzzi calls ‘100 languages’.  In relation to CPRT’s values and vision, we suggest that positive connections between the arts, as well as non-arts subjects, can maximise creative learning.  Although we may more commonly talk about learning in and through different art forms, the work of Lars Lindström usefully draws attention to also learning about and with the art form.  These distinctions emphasise a wonderful world of possibilities for both teaching and learning.

However, promoted by the DfE, the Education Endowment Foundation (EEF) Teaching and Learning Toolkit  tells us that arts participation has low impact on ‘academic learning’.  This worries us on two counts: firstly, the type of research approaches used to gather this evidence can never fully capture the subtle qualities of learning in the arts; secondly, it is grossly inaccurate to imply that the arts are non-academic.  Also, we are deeply troubled when it is seen as perfectly acceptable to relegate the arts to extra-curricular activity, seemingly the view taken in the DfE White Paper Educational Excellence Everywhere. In any event, evidence from a much larger body of research  than the single project cited by EEF shows that arts education does indeed have a positive and significant ‘academic’ impact.

Our work with the South West Research Schools connects closely to four of CPRT’s priorities: community, curriculum, voice and pedagogy.  These schools are fully committed to providing rich and stimulating learning experiences and recognise that the arts have much to offer in contributing to this aspiration.

In the Power of the Arts event recently held at Bath’s Royal Literary and Scientific Institute, six of CPRT’s South West Research Schools shared their research findings to date, which led to wider discussions about teaching and learning in the arts and, more generally, a creative school ethos.  Significant messages arising from the discussions underlined the importance of both teachers and children learning as researchers, and the potential of working with the ‘habits of mind’ of artists and creative professionals to develop creative learning skills.

David Allinson, Head Teacher of St Vigor and St John Primary School, Chilcompton, Somerset talked about:

… believing in children’s ideas, with research as a habit of mind – catching learning. We became fascinated in how children’s drawings help them to put ideas together and grow – in how can ideas be revealed, connected and grow through drawing. Some important things came out from what we saw.  The children’s language was more developed, their imagination had grown into a fantastical language, children were catching ideas from each other. The ideas changed because we gave children time, we gave them space to do it in, and gave them attention from a teacher who was very interested in what they were doing, showed attention by writing things down, taking photos. As teachers we need to step back and ask questions about the things that fascinate us. We saw the story unravelling – we were then interested in how we could give children the time space and attention they needed.

Professor Nick Sorensen, Associate Dean, Institute for Education, Bath Spa University closed the day:

Thank you to the primary head teachers who have generously shared their innovative approaches to learning, teaching and professional development, showing how artists and teachers work together to increase children’s self-esteem, self-confidence and independence with the vision to expand the imaginative potential of children and supporting them to become independent learners.

Post Brexit, here is much healing that has to be done and what you’re doing is really important work.  Artists and teachers are united by the fact that they are social beings; their actions have an impact on what happens in society and they reflect what is going on in society. The work that you, and others, are doing takes on a much broader significance and importance given that the context we are working in has changed radically.

What I am interested in is practice, in what great artists and teachers do.  Practice doesn’t exist in isolation but comes out of a culture.  We need to engage in a process of analysis not just to document that what we do which is of value, but to collectively legitimise those practices that may appear to be marginal in order to resolve the tensions between policy expectations and practical realities, between a restricted and restrictive National Curriculum and the stuff that children immediately recognise as ‘real learning’. We need to be able to provide evidence for those practices that foster understanding, cooperation, cross-cultural perspectives and cross-disciplinary learning.

5x5x5=creativity aspires to research and support creativity in children’s learning to increase their aspirations and life skills.  Partnerships between schools and cultural organisations are essential at this time, as we need to draw on our collective imagination to make a real difference to children’s lives.  With determination and a growing sense of community and shared endeavour, we can together ensure that children’s experiences of primary school are enlivened and enriched by the arts.

We agree with artist Bob and Roberta Smith, that ‘art makes children powerful’ and would add that it can also make teachers, as learning and research partners, powerful too.

Emese Hall (University of Exeter) and Penny Hay (Bath Spa University) jointly co-ordinate CPRT’s South West regional network, which includes the South West Research Schools Network and its current focus on the arts and creativity in primary schools. Contact them here for more information.

Filed under: arts, arts education, Cambridge Primary Review, CPRT South West Research Schools Network, creativity, curriculum, evidence, national curriculum, policy

June 10, 2016 by Patrice Baldwin

Much ado about drama

The words ‘new’ and ‘national’ in relation to the primary national curriculum are misnomers. Much is similar to my primary school education in the 1950s, when there was a relentless focus on passing the 11+. Academies, free and independent schools don’t have to follow the ‘national’ curriculum anyway, so it is not national. With a rapidly increasing number of schools jumping (before being pushed) into academy status, soon most schools won’t have to follow it. Their curriculum ‘freedom’ could enable academy chains and individual schools to create something better than the retro, imbalanced national curriculum. A balanced arts curriculum would be an improvement but currently the increasingly high stakes national assessments in maths and English are what are actually shaping what is being taught for most of each day. What children learn, and the ways they learn it, influence the development of their brains, minds and attitudes. Education with insufficient arts is a form of deprivation.

I talk with teachers from many schools. I have been told, ‘We used to do drama but there just isn’t time now,’ and ‘We have been told that if we don’t have to teach something, then we mustn’t waste time on it.’ The curriculum is being shaped by fear of poor test results, with young children being overdosed on spelling, punctuation, grammar, phonics and maths. Art and design and music are at least in the national curriculum, so these subjects get some attention but drama is increasingly pushed to the wings.

Drama has always been a national curriculum casualty in England, locked safely and inappropriately inside English. Even when it was slightly more prominent in the last English national curriculum, the national strategies and Ofsted ignored it. Drama is now reduced to the odd bullet-point in the programme of study for English and defined mainly by its usefulness to reading comprehension and writing.

Drama has an extensive toolbox of interactive strategies and techniques that can be used to scaffold different types of thought and talk in any curriculum area. Many teachers know just two or three drama strategies and use them repeatedly, (e.g. hot-seating, freeze-frame, conscience alley). This is often a legacy from national strategies training. However, more recently trained teachers may not know any drama strategies at all and may not have had any drama training.

Drama is a main artform, not just a toolbox. The Cambridge Primary Review report positioned ‘Arts and Creativity’ (including drama), at the top of its list of eight curriculum domains. Jim Rose’s ill-fated curriculum also placed drama appropriately, within ‘Understanding the Arts’, where it had equal subject status alongside art, music and dance.

England used to lead the way internationally for drama in schools but no longer. Australia has its first national curriculum and dance, drama, media arts, music and visual arts have equal curriculum subject status within it. Ontario has had a statutory arts curriculum in its primary schools for almost a decade. Indeed, the Canadian Prime Minister, Justin Trudeau was once a drama teacher.

Ironically, Shakespeare’s 400th anniversary coincides with drama in schools being diminished. England’s national curriculum has no programme of study or even appendix for drama, yet former Education Secretary Michael Gove agreed that all schools should receive a free copy of the Royal Shakespeare Company Toolkit for primary teachers. The press heralded his support for annual ‘Shakespeare Week’, but schools need a drama curriculum that has been fully consulted on, not just a free handbook about teaching Shakespeare and a ‘bolt-on’ Shakespeare Week.

For not a single question about drama was included in the national curriculum consultation. No DfE official was given responsibility for drama.  Subject expert groups were set up, but none for drama, and the subject expert group for English invited a National Theatre representative to join but no representative from the professional drama teachers’ associations. Creative and cultural industry representatives were given prominence in the developing educational landscape, and DfE consulted the relatively new Cultural Learning Alliance (CLA) rather than arts teachers’ professional organisations such as National Drama.

Through Creative Partnerships (2002-2011) and also through Arts Council England initiatives such as Artsmark and Arts Awards, a large national database of artists and arts organisations has been compiled.  It continues to grow and is not openly available to schools. The education work of artists and arts organisations is being channelled by ACE through their Regional Bridge organisations (jointly funded by the DfE). This infrastructure and database will be useful if and when the ‘Cultural Citizens’ initiative gets underway (proposed in ‘The Culture White Paper’ – March 2016). In this publication, the Education Secretary Nicky Morgan says that she wants ‘every single young person to have the opportunity to discover how the arts can enrich their lives.  Access to cultural education is a matter of social justice.’

Schools certainly should provide opportunities for children to work with artists and visit galleries, museums and theatres as part of their planned curriculum but these experiences and opportunities are no substitute for regular curriculum arts teaching in schools by qualified teachers with arts training.  Meanwhile, in some academies there are teachers without qualified teacher status (QTS). At least this development benefits artists as contributors to the teaching workforce.

Ofsted expectations, too, reflect the changing landscape within which arts education could too easily become confused with and subsumed by ‘cultural education’. The 2015 school inspection handbook says (my italics):

Ofsted inspectors take account of pupils’ cultural development, including their willingness to participate in artistic, musical, sporting and other cultural opportunities. Inspectors expect schools to provide a broad and balanced curriculum and extra-curricular opportunities that extend pupils’ knowledge, understanding and skills in a range of artistic, creative and sporting activities.

The arts must not be become an out-of-school-hours activity. Children need arts as part of a broad and balanced curriculum in school time and that should include art, music, dance and drama.

Patrice Baldwin is a drama for learning specialist, past Chair of National Drama and past President of the International Theatre, Drama and Education Association. www.patricebaldwin.com

Filed under: arts education, Cambridge Primary Review, drama, national curriculum, Patrice Baldwin

October 30, 2015 by Robin Alexander

Face the music

Opera North has reported dramatic improvements in key stage 2 test results in two primary schools, one in Leeds, the other in Hull, and both in areas deemed severely deprived. ‘Dramatic’ in this instance is certainly merited: in one of the schools the proportion of children gaining level 4 in reading increased from 78 per cent in 2014 to 98 per cent in 2015, with corresponding increases in writing (75 to 86 per cent) and mathematics (73 to 93 per cent).

But what, you may ask, has this to do with opera?  Well, since 2013 the schools in question – Windmill Primary in Leeds and Bude Park Primary in Hull – have been working with Opera North as part of the Arts Council and DfE-supported In Harmony programme. This aims ‘to inspire and transform the lives of children in deprived communities, using the power and disciplines of community-based orchestral music-making.’  Opera North’s In Harmony project, now being extended, is one of six, with others in Gateshead, Lambeth, Liverpool, Nottingham and Telford. In the Leeds project, every child spends up to three hours each week on musical activity and some also attend Opera North’s after-school sessions. Most children learn to play an instrument and all of them sing. For the Hull children, singing is if anything even more important. Children in both schools give public performances, joining forces with Opera North’s professional musicians. For the Leeds children these may take place in the high Victorian surroundings of Leeds Town Hall.

Methodological caution requires us to warn that the test gains in question reflect an apparent association between musical engagement and standards of literacy and numeracy rather than the proven causal relationship that would be tested by a randomised control trial (and such a trial is certainly needed).  But the gains are sufficiently striking, and the circumstantial evidence sufficiently rich, to persuade us that the relationship is more likely to be causal than not, especially when we witness how palpably this activity inspires and sustains the enthusiasm and effort of the children involved. Engagement here is the key: without it there can be no learning.

It’s a message with which for many years arts organisations and activists have been familiar, and which they have put into impressive practice.  To many members of Britain’s principal orchestras, choirs, art galleries, theatres and dance companies, working with children and schools is now as integral to their day-to-day activity as the shows they mount, while alongside publicly-funded schemes like In Harmony, the Prince’s Foundation for Children and the Arts pursues on an even larger scale the objective of immersing disadvantaged children in the arts by taking them to major arts venues and enabling them to work with leading arts practitioners.  Meanwhile, outside such schemes many schools develop their own productive partnerships with artists and performers on a local basis.

Internationally, the chance move of a major German orchestra’s headquarters and rehearsal space into a Bremen inner-city secondary school created first unease, then a dawning sense of opportunity and finally an extraordinary fusion of students and musicians, with daily interactions between the two groups, students mingling with orchestra members at lunch and sitting with them rehearsals, and a wealth of structured musical projects.

But perhaps the most celebrated example of this movement is Venezuela’s El Sistema, which since 1975 has promoted ‘intensive ensemble participation from the earliest stages, group learning, peer teaching and a commitment to keeping the joy of musical learning and music making ever-present’ through participation in orchestral ensembles, choral singing, folk music and jazz. El Sistema’s best-known ambassador in the UK – via its spectacular performances at the BBC Proms – is the Simon Bolivar Youth Orchestra, and it is El Sistema that provides the model for In Harmony, as it does, obviously, for Sistema Scotland with its ‘Big Noise’ centres in Raploch (Stirling), Govanhill (Glasgow) and Torry (Aberdeen).

By and large, the claims made for such initiatives are as likely to be social and personal as musical, though Geoffrey Baker  has warned against overstating their achievements and even turning them into a cult. Thus Sistema Scotland’s Big Noise is described as ‘an orchestra programme that aims to use music making to foster confidence, teamwork, pride and aspiration in the children taking part’.  There are similar outcomes from Deutsche Kammerphilharmonie Bremen’s move into the Tenever housing estate, with dramatic improvements reported in pupil behaviour and the school’s reputation transformed from one to be avoided to one to which parents from affluent parts of the city now queue to send their children.

Similarly, the initial NFER evaluation report on In Harmony cites ‘positive effects on children’s self-esteem, resilience, enjoyment of school, attitudes towards learning, concentration and perseverance’ with, as a bonus, ‘some perceived impact on parents and families including raised aspirations for their children, increased enjoyment of music and confidence in visiting cultural venues, and increased engagement with school.’  Children and the Arts sees early engagement with the arts through its Quest and Start programmes as a way of ‘raising aspirations, increasing confidence, improving communication skills andunlocking creativity.’ Such engagement is offered not only in ‘high-need areas where there is often socio-economic disadvantage or low arts access’ but also, through the Start Hospices programme, to children with life-limiting and life-threatening illnesses and conditions.

The SAT score gains from Opera North’s In Harmony projects in Leeds and Hull add a further justificatory strand; one, indeed, that might just make policymakers in their 3Rs bunker sit up and take notice.  For while viewing the arts as a kind of enhanced PSHE – a travesty, of course – may be just enough to keep these subjects in the curriculum, demonstrating that they impact on test scores in literacy and numeracy may make their place rather more secure.

This, you will say, is unworthily cynical and reductive. But cynicism in the face of policymakers’ crude educational instrumentality is, I believe, justified by the curriculum utterances and decisions of successive ministers over the past three decades, while the reductiveness is theirs, not mine. Thus Nicky Morgan excludes the arts from the EBacc, but in her response to the furore this provokes she reveals the limit of her understanding by confining her justification for the arts to developing pupils’ sense of ‘Britishness’, lamely adding that she ‘would expect any good school to complement [the EBacc subjects] with a range of opportunities in the arts’.  ‘A range of opportunities’ – no doubt extra-curricular and optional – is hardly the same as wholehearted commitment to convinced, committed and compulsory arts education taught with the same eye to high standards that governments reserve for the so-called core subjects.  Underlining the poverty of her perspective, Morgan tells pupils that STEM subjects open career options while arts subjects close them.

What worries me no less than the policy stance – from which, after all, few recent Secretaries of State have deviated – is the extent to which, in our eagerness to convince these uncomprehending ministers that the arts and arts education are not just desirable but essential, we may deploy only those justifications we think they will understand, whether these are generically social, behavioural and attitudinal (confidence, self-esteem) or in the realm of transferable skills (creativity, literacy, numeracy), or from neuroscience research (attention span, phonological awareness, memory). The otherwise excellent 2011 US report on the arts in schools from the President’s Committee on the Arts and Humanities falls into the same trap of focussing mainly on social and transferable skills, though it does at least synthesise a substantial body of research evidence on these matters which this country’s beleaguered advocates of arts education will find useful.

Let me not be misunderstood: the cognitive, personal and social gains achieved by El Sistema, Children and the Arts, In Harmony and similar ventures are as impressive as they are supremely important for children and society, especially in cultures and contexts where children suffer severe disadvantage.  And if it can be shown that such experiences enhance these children’s mastery of literacy and numeracy, where in the words of CPRT’s Kate Pickett, they encounter a much steeper ‘social gradient’ than their more affluent peers, then this is doubly impressive.

But the danger of presenting the case for arts education solely in these terms, necessary in the current policy climate though it may seem to be, is that it reduces arts education to the status of servant to other subjects, a means to someone else’s end (‘Why study music?’ ‘To improve your maths’) rather than an end in itself; and it justifies the arts on the grounds of narrowly-defined utility rather than intrinsic value. It also blurs the vital differences that exist between the various arts in their form, language, practice, mode of expression and impact.  The visual arts, music, drama, dance and literature have elements in common but they are also in obvious and fundamental ways utterly distinct from each other. They engage different senses, require different skills and evoke different responses – synaptic as well as intellectual and emotional. All are essential. All should be celebrated.

This loss of distinctiveness is perhaps unwittingly implied by the evaluation of the only Education Endowment Foundation (EEF) project in this area. EEF evaluates ‘what works’ interventions designed to enhance the literacy and numeracy attainment of disadvantaged pupils (including CPRT’s own dialogic teaching project) and its ‘Act, Sing, Play’ project has tested the relative impact of music and drama on the literacy and numeracy attainment of Year 2 pupils. It found no significant difference between the two subjects. So, in the matter of using the arts as a way to raise standards in the 3Rs, do we infer that any art will do?

So, yes, the power of the arts, directly experienced and expertly taught, is such that they advance children’s development, understanding and skill beyond as well as within the realms of the auditory, visual, verbal, kinaesthetic and physical. And yes, it should be clearly understood that while the arts can cultivate affective and social sensibilities, when properly taught they are in no way ‘soft’ or intellectually undemanding, and to set them in opposition to so-called ‘hard’ STEM subjects, as Nicola Morgan did, is as crass as claiming that creativity has no place in science or engineering. But until schools have the inclination and confidence to champion art for art’s sake, and to make the case for each art in its own terms, and to cite a wider spectrum of evidence than social development alone, then arts education will continue to be relegated to curriculum’s periphery.

For this is a historic struggle against a mindset that is deeply embedded and whose policy manifestations include a national curriculum that ignores all that we have to come know about the developmental and educative power of the arts, and indeed about its economic as well as cultural value, and perpetuates the same ‘basics with trimmings’ curriculum formula that has persisted since the 1870s and earlier.

That’s why the Cambridge Primary Review argued that the excessively sharp differentiation of ‘core’ and ‘foundation’ subjects should cease and all curriculum domains should be approached with equal seriousness and be taught with equal conviction and expertise, even though, of course, some will be allocated more teaching time than others. This alternative approach breaks with the definition of ‘core’ as a handful of ring-fenced subjects and allows us instead to identify core learnings across a broader curriculum, thereby greatly enriching children’s educational experience, maximising the prospects for transfer of learning from one subject to another, and raising standards.

Seriousness, conviction, expertise: here we confront the challenge of teaching quality. Schemes like Sistema, In Harmony and those sponsored by Children and the Arts succeed because children encounter trained and talented musicians, artists, actors and dancers at the top of their game.  These people provide inspirational role models and there is no limit to what children can learn from them. In contrast, music inexpertly taught – and at the fag-end of the day or week, to boot – not only turns children off but also confirms the common perception that music in schools is undemanding, joyless and irrelevant. Yet that, alas, is what too many children experience. For notwithstanding the previous government’s investment in ‘music hubs’, Ofsted remains pessimistic as to both the quality of music teaching and – no less serious – the ability of some school leaders to judge it and take appropriate remedial action, finding them too ready to entertain low expectations of children’s musical capacities.

But then this is another historic nettle that successive governments have failed to grasp. In its final report  the Cambridge Primary Review recommended (page 506) a DfE-led enquiry into the primary sector’s capacity and resources to teach all subjects, not just ‘the basics’, to the highest standard, on the grounds that our children are entitled to nothing less and because of what inspection evidence consistently shows about the unevenness of schools’ curriculum expertise. DfE accepted CPR’s recommendation and during 2010-12 undertook its curriculum capacity enquiry, in the process confirming CPR’s evidence, arguments and possible solutions. However, for reasons only DfE can explain, the resulting report was never made public (though as the enquiry’s adviser I have seen it).

In every sense it’s time to face the music.

As well as being Chair of the Cambridge Primary Review Trust, Robin Alexander is a Trustee of the Prince’s Foundation for Children and the Arts.

 www.robinalexander.org.uk

Filed under: arts education, assessment, Cambridge Primary Review Trust, creativity, disadvantage, evidence, music education, national curriculum, Robin Alexander, tests

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