The Parliamentary Under-Secretary of State for Schools (Lord Nash) (Con)
My Lords, I join others in congratulating the noble Earl, Lord Clancarty, on securing a debate on this important subject. I also congratulate the other speakers on their contributions. In particular, I congratulate the noble Baroness, Lady Evans of Bowes Park, on her eloquent maiden speech. We have worked closely together on free schools and I have been immensely impressed by her judgment and analysis. I am sure that she will make a very valuable contribution to your Lordships’ House.
As the noble Baroness, Lady Nye, mentioned, many noble Lords will have seen the book, The Virtuous Circle, by Sir John Sorrell, Darren Henley and Paul Roberts, published earlier this month. It makes the argument that cultural and creative activities and learning should form a vital part of the everyday lives of all young people. It is a compelling argument and I commend it to your Lordships. However, most of us already know that a rich cultural and creative learning experience is an essential part of a good education, particularly for those disadvantaged pupils who may otherwise have a cultural deficit which will hold them back. That point has been made by many, including Diane Abbott, who has articulated it so eloquently.
The noble Earl, Lord Clancarty, referred to the danger of the arts becoming the province of the rich. Sadly, it is true that that has, proportionately, been the case for some time. This is the most socially immobile country in the developed world. That is why the Government are particularly focused on improving the life chances of disadvantaged children and arresting the decline in academic and cultural education which took place under the previous Government.
No one should be in any doubt that the Government fully accept the case for arts education in schools. We recognise the arts as an integral part of children’s development, and believe strongly that every child should experience a high-quality arts and music education throughout their time in school. The noble Earl, Lord Clancarty, and others made the case that arts subjects should have an equal place in the curriculum. Arts subjects do have the same status as many other important subjects. To answer some of the points made by the noble Lord, Lord Berkeley, music, art and design are statutory subjects in the national curriculum, so every child in a maintained school must study these subjects from the ages of five to 14. Singing is included in the national curriculum. Pupils must also study drama as part of their English studies, as well as dance. Dance has been a compulsory element in the curriculum at key stages 1 and 2 for some time and, since September, it has been compulsory at key stage 3.
It would not be appropriate, of course, to force students to study arts subjects at key stage 4. Children need to choose options that reflect their individual interests, strengths and future career choices. Children do not have to study arts subjects at key stage 4, nor do they have to study humanities, languages or design and technology. However, all children in maintained schools must be offered the opportunity to study history or geography, a modern foreign language and design and technology. They must also be offered the opportunity to study at least one subject from the arts entitlement area, which includes music, art and design, drama, dance and media arts. These are not soft subjects; they combine creativity and practical skills with academic rigour. Our reform of GCSE and A-level exams is designed to ensure that all exams are equally challenging.
The noble Earl, Lord Clancarty, the noble Lord, Lord Aberdare, and others asked about the role of Ofsted. All state-funded schools are required to offer a broad and balanced curriculum which promotes the spiritual, moral, cultural, mental and physical development of pupils, and Ofsted inspects against that. It is currently consulting on increasing the emphasis in the inspection framework given to the breadth of the curriculum.
Prior to January 2012, inspections included a minimum of 27 graded judgments with four additional early-years foundation judgments and four additional sixth-form judgments for schools with these settings. We slimmed down the number of judgments from a maximum of 35 to four to focus Ofsted inspections more clearly, and that was warmly welcomed. However, we will be interested to see the outcome of the consultation.
The noble Earl, Lord Clancarty, the noble Baroness, Lady Kidron, and others mentioned changes in relation to accountability measures and how they will affect arts subjects. From 2016, the Government will remove the existing headline attainment measure of pupils achieving five or more A to C grades at GCSE, including English and maths, which has encouraged schools to place far too much emphasis on lifting pupils over the C/D borderline. The shadow Secretary of State has acknowledged the mistake of the previous Government in focusing exams far too much on what he called the great crime of the C/D borderline. We have introduced the EBacc as a first step to a fairer accountability system.
I have listened to many speeches stating that the arts have been downgraded by this Government. I have stated that that is not the case and I will statistically disprove it shortly, but we must also recognise our starting point. This Government came to power facing some depressing facts about our education system. We started from an extremely low base. We slumped down the education international league tables under the previous Government and, at the end of last year, the OECD told us that our 2012 school leavers—Labour’s children—were the most illiterate in the developed world, coming 24th out of 24 countries for literacy and 21st out of 24 for numeracy. That is shocking.
Under the previous Government, the number of pupils taking a core suite of academic subjects fell from 50% to 22%. In my view, that Government practised the greatest confidence trick ever perpetrated on the British public; namely, the scandal of the misuse of equivalents, under which subjects that were of little real value were overvalued in the GCSE equivalent tables. Subjects such as a higher-level BTEC diploma in fish husbandry were equivalent to four GCSEs, despite the fact that there were no exams and it was all coursework. Other favourites of mine are cake decorating and hazard control. We have stopped that and, thanks to the policy of this Government and partly to the EBacc, the number of pupils now taking a core suite of academic subjects—so essential to those pupils from disadvantaged backgrounds to make up for cultural deficits—is now back up by 64%. The assumption that under this Government the curriculum has changed from one that is rich in the arts for many students to one that is not so rich is false. Under this Government, it has changed from one which for so many pupils consisted of a curriculum of English, maths and some low-value so-called vocational subjects to one that is far broader in terms of academic and cultural subjects. That is the reality.
A number of noble Lords, including the noble Earl, Lord Clancarty, and the noble Lord, Lord Cashman, talked about the effect of the EBacc, and the fact that it has led to a fall in the number of pupils taking GCSE music and to a decline in other arts subjects. I am pleased to have the opportunity to put the record straight. The number of GCSEs taken across all subjects has fallen nationally since 2010 as the cohort has reduced and as more children have taken vocational exams. Therefore, it is no surprise that the number taking GCSEs in music and the arts has fallen. Since 2010, the number of entries in all key stage 4 exams in music has gone up by 7%, in art and design by 4% and in drama by 3%. The average number of key stage 4 exam entries in arts subjects per pupil has stayed level since 2010. In 2014, more year 11 pupils took GCSEs in arts subjects than in 2013, including more than 3% more in music, 6% more in art, 10% more in performing and expressive arts, and 11% more in media, film and TV studies.
That is possibly the result of the fact that we are now introducing the new Progress 8 measure, which will be the only measure used for secondary school floor standards. This will look at pupils’ progress over eight subjects—English, maths, three further EBacc subjects and three other high-value qualifications. Up to three arts subjects per pupil, including music—the noble Lord, Lord Moser, will be pleased to hear—will count, as will grade music exams at grade 6 and above. Including eight subjects will encourage schools to offer a broad and balanced curriculum, rather than to focus their attention on only five subjects. As a result, schools will have a greater incentive to offer a range of arts subjects, to allow pupils to study more than one arts subject, and to teach those subjects well. The average number of GCSEs or the equivalent that pupils take is now more than 11, so pupils will be studying a broader sweep of subjects than eight and it is likely that many of them will be arts subjects.
The new progress measures will also incentivise schools to focus on improving the grades of all pupils, and coasting schools with strong intakes will be encouraged to get the best from their pupils. The noble Earl, Lord Clancarty, referred to the recent speech of the Education Secretary on STEM, as did the noble Baroness, Lady Jones. I do not think that the Secretary of State thinks that STEM subjects are necessarily more useful than the arts and humanities, but we need to improve the take-up of STEM subjects, as we are doing. We believe that a balance of STEM subjects, humanities and arts subjects will equip pupils to thrive in modern Britain. Indeed, the Secretary of State is a great believer in building character, for the formation of which a curriculum rich in the arts is so important.
It is important for pupils to study the arts for a variety of reasons. The noble Lord, Lord Bichard, and the noble Baroness, Lady Jones, spoke about the contribution that the arts make to the UK economy and the skills that are needed by the creative industries. My noble friend Lady Evans, the noble Lord, Lord Bichard, and others suggested that studying arts subjects has a positive impact on a variety of skills that all employers find attractive: teamworking, confidence and communication skills. These are important, but they are not the whole story. Participation in the arts helps build character. Children and young people who apply themselves learn the value and rewards that come from hard work and practice.
Even without all those benefits, however, we believe that arts subjects are worthy of study in their own right. They are part of our cultural heritage. Children’s education is not complete until they have learnt to dance and to take part in drama, or until they have learnt to draw, paint and work with clay and other materials. It is not complete until they have learnt to sing, play a musical instrument and compose, or until they can understand staff notation, without which many musical doors will remain closed to them. All children should have the chance to study the work of great artists, craft-makers and designers, the work of great composers and musicians, and the work of William Shakespeare, the greatest of English playwrights.
Today, people of all ages still enjoy singing, dancing, playing instruments, acting and making art. The latest Taking Part survey shows that 99% of children aged five to15 have engaged with the arts in 2013-14. The recent Making Music report by the Associated Board of the Royal Schools of Music shows that more children than ever are playing musical instruments: 76% of five to 14 year-olds say they know how to play a musical instrument. That is up from 41% in 1999. However, 15% of five to 17 year-olds said that they had never played an instrument, and 40% of the children from lower socioeconomic groups who have never played an instrument said they had no opportunity to learn one at school. We need this to improve. A child’s economic background should not determine whether they are able to play a musical instrument, or whether they are able to continue to play and make progress.
Our music education hubs were set up with four core roles: to ensure that every child aged five to 18 has the opportunity to learn a musical instrument through whole-class ensemble teaching programmes; to ensure that clear progression routes are available and affordable to all young people; to provide opportunities to play in ensembles and to perform; and to develop a singing strategy to ensure that every pupil sings regularly and that choirs and other vocal ensembles are available in the area. The hubs will receive at least £17 million more in 2015-16 than they did in 2014-15 to help them make a reality of this vision. Schools need to play their part, too, by providing opportunities for pupils to sing in choirs and play in orchestras. There are many examples of good practice, and it is wonderful when we can celebrate them.
Earlier this month, at the School Proms at the Royal Albert Hall, in front of an audience of thousands, Katie Crozier from Brampton Village Primary School in Cambridgeshire was awarded with the Classic FM primary music teacher of the year award. When she started at the school, there were eight singers in the choir and no orchestra. Six years on, there is a choir of more than 100 and an orchestra of more than 50. What a wonderful difference one teacher can make.
Secondary schools will, by their nature, have specialist teachers in the arts, as they do in other subjects, but some schools are specialising even more. The noble Lord, Lord Smith, mentioned the BRIT School: an independent, state-funded city college for the technology of the arts, dedicated to educational and vocational training for performing arts, media, art and design and the technologies that make performance possible.
The noble Baroness, Lady Evans, mentioned the East London Arts and Music school and the Liverpool Institute of Performing Arts, a free school. We have funded a further five free schools specialising in the arts, several UTCs and nine studio schools specialising in the arts. My department supports a number of initiatives in addition to those provided by the music hubs designed to ensure that young people have access to good quality music education, which the noble Lord, Lord Aberdare, mentioned.
We support In Harmony, a national programme that aims to inspire and transform the lives of children in six deprived communities, using the power and disciplines of community-based orchestral music-making. We support Music for Youth, a national music education charity providing free access to performance and audience opportunities for thousands of young musicians across the UK, and we support the national youth music organisations such as the National Youth Orchestra of Great Britain, which provides opportunities for the most talented musicians to perform at a high level.
In addition, our music and dance scheme enables exceptionally talented musicians and dancers to achieve their full potential by funding full-time education at eight specialist schools. They include the Royal Ballet School, the Yehudi Menuhin School, Elmhurst School for Dance and the Purcell School, which was home to the winner of this year’s “Young Musician of the Year” competition, Martin James Bartlett. The music and dance scheme also funds training at a network of 21 music and dance centres of advanced training across the country, including the junior departments of all the English music conservatoires. Jointly with the Department for Business, Innovation and Skills, we fund students aged 16 to 23 through the Dance and Drama Awards to attend a range of 19 specialist dance and drama schools.
Those schemes are great ways to ensure that talented pupils from all backgrounds are able to achieve their potential. We also fund a wider range of cultural education programmes: the Sorrell Foundation’s Saturday art and design clubs, which provide opportunities for 14 to 16 year-olds to study art and design every Saturday morning at their local university or college for free; the British Film Institute’s Film Academy for budding young film-makers aged 16 to 19; the National Youth Dance Company; and a museums and schools programme that aims to increase the number of high-quality educational visits by school pupils from areas which currently have lower than average cultural engagement; the heritage schools programme, run by English Heritage; and an expansion of the Arts Council’s bridge organisations.
In total, we are spending more than £340 million in the three years from 2012 to 2015 on music and arts education programmes. We will be announcing funding for 2015-16 shortly.
The noble Lord, Lord Aberdare, mentioned teachers. The proportion of music ITT trainees with at least a 2.1 has increased substantially. Now, 82% of them have a 2.1, which has risen since 2011-12 by 13%. We have increased the range of bursaries; we offer £9,000 for those with a first-class degree. The Government have supported teaching schools to designate 145 specialist leaders of education in arts subjects.
The noble Baroness, Lady Nye, asked about the teaching and learning of drawing. We have improved the emphasis on drawing in the new national curriculum. In key stage 1, children must be taught to use drawing to develop and share their ideas, experiences and imagination. We have also improved the emphasis on drawing in the proposed content for the new art and design GCSE, which requires students to demonstrate an ability to use drawing skills.
The noble Earl, Lord Clancarty, and the noble Baroness, Lady Kidron, mentioned discounting codes. As he acknowledged, we changed discounting codes for drama and dance and art and photography, and I believe he welcomed this. If evidence is presented as to why other arts areas are distinct enough, we will of course review the discounting codes.
I hope your Lordships will agree that, together with the policies I have already outlined, this package of programmes demonstrates our strong commitment to arts education. Once again I thank all noble Lords for participating in this important debate.