Initial Teacher Training

Earl of Clancarty Excerpts

Thursday 18th November 2021 Lords Chamber

[The Earl of Clancarty (CB)]

My Lords, I am grateful to the noble Baroness, Lady Donaghy, for securing this important and timely debate. I agree with the concerns she expressed regarding the current proposals.

I will make a few general observations, followed by comments on how these proposals might practically affect the teaching of creative subjects. I declare an interest as a vice-chair of the All-Party Groups for Art, Craft and Design in Education and for Music Education. I am grateful to the National Society for Education in Art and Design and the Incorporated Society of Musicians for their briefings for this debate.

The first, and perhaps central, point I want to make is that any changes to teacher recruitment and education ought to be viewed through the lens of the individual subjects that make up the curriculum; in other words, such changes should be subject-led. This is important because the objective of such change, if change is necessary, should be to maximise the best way or ways possible to teach each one of these subjects, so that the result is higher-quality teaching of and greater access to each subject for pupils. Crucially, this also means having a sufficient number of specialist teachers where required, and specialist knowledge and practice, which is ever-changing and ever-developing.

An educational ecosystem that allows a deepening of a subject’s understanding for teaching will necessarily accommodate influence from outside school; good influence always comes from the outside. Ultimately, schools cannot feed on themselves to nurture and nourish good teaching. The end result would inevitably be the stultifying of school education.

The current ecosystem in which university involvement is an integral part of teacher recruitment and education is therefore both beneficial and necessary, not least because such teaching will bring with it a critical vision which will be communicated to students and replenish the school. Indeed, what the Government refer to as “consistently high quality training” should be directly geared to these goals. This is clearly not the case with the current government proposals. As the Incorporated Society of Musicians put it:

“The substance of the proposals are largely generic, rather than subject specific, focusing too much on the mechanics of ITT, rather than on the substance of the learning that should take place. We are concerned that this threatens to undermine the level of subject specialism trainees will develop”.


It is clear there are concerns that these proposals threaten the quality of teaching and access to a wide range of subjects, from the sciences to humanities—my noble friend Lady Coussins will talk about languages—as well as the arts. Schools and arts teachers play a crucial role in supplying the pipeline of creative talent to a creative industries sector worth over £116 billion to the UK economy. The withdrawal of 30 or more providers would mean a loss of around 10,000 teacher training places, as the noble Baroness, Lady Donaghy, pointed out, which the new institute of teaching, with its 1,000 new places, would not make up.

The inevitable shortage would impact heavily on arts subjects in schools, which are already disadvantaged through the EBacc. On top of that, there is the effect of the pandemic, which has further deprioritised arts subjects in favour of EBacc subjects. This comes at a time when the effect of the pandemic on the creative industries has made the protection and development of the pipeline even more crucial. The Government must ensure that providers and teaching places are not lost.

A particular concern is that, under these proposals, trainees may not have sufficient time to focus on the teaching of arts subjects. Intensive practice placements could mean that teachers do not experience any arts teaching during their placements, since some arts subjects, such as music, are often taught on a rota basis. How would this system ensure that primary teacher training courses and placements include adequate timetabling of music and other arts subjects?

A related concern is the funding and capacity implications of the proposals, which do not seem to be taken into account by the review. How would there be sufficient capacity for small and overstretched art and music departments to deliver intensive placements for groups of teachers, a particular challenge where there are a small number of teachers employed in a department? Schools with small departments would need further support and funding to provide appropriate mentorships.

Bursaries are important in recruiting and retaining trainees. They can make a critical difference—even more so if centres are cut and teachers need to move home or travel long distances. Yet bursaries for the 2021-22 cohort are now zero for both music and art and design, while bursaries have been reinstated for other subjects. This, incidentally, on top of the 50% cuts to higher education arts courses, sends yet another signal about the value that the Government ascribe to arts subjects.

The decision about music is curious in the light of the ISM’s finding that the number of trainees starting secondary music ITT courses in the 10-year period to 2018-19 fell by 64%. Such long-term trends throw a question mark against the target recruitment figures that the Government use. Can the Minister tell me precisely what criteria are now being used for the awarding of bursaries and, in particular, for the decision not to award bursaries to music or art and design subjects? In this context, there is a growing realisation that the recent small increase in art and design GCSE uptake has been artificially inflated by the destructive loss of design and technology teaching.

How, too, would these proposals address representation in the teaching profession? The Runnymede Trust will produce its own report next year on representation in arts education, but the DfE reported in 2017 that only 6% of art and design teachers were from ethnically diverse communities, compared with 31% of the student population. Bursaries and scholarships alongside other strategies could be used to help address this imbalance.

In conclusion, it is difficult to understand how these proposals will enhance the teaching of subjects themselves. Indeed, many of the concerns that the arts have are shared by other subjects too. There are questions then both of principle and logistics. In terms of principle, the strong sense that one gets is that the Government would like to have closer, more centralised control over education and wish the multi-academy trust to be a focus of that control. It is a narrow-minded approach that ignores the importance of the wider educational ecosystem. In the longer term, too, we must rethink the Government’s—any Government’s—relationship to education, which, in England, is in danger of becoming far too close.