Schools: Drama
Earl of Clancarty Excerpts(7 years, 9 months ago)
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The Earl of Clancarty
To ask Her Majesty’s Government what steps they are taking to encourage the teaching and study of drama in schools.
The Parliamentary Under-Secretary of State, Department for Education (Lord Nash) (Con)
My Lords, we want all pupils to participate in and gain the knowledge, skills and understanding associated with the artistic practice of drama. All maintained schools are required to teach drama as part of the national curriculum in English. Teachers are expected to introduce pupils to works from a range of genres, historical periods and authors. Pupils are taught about role play, improvisation and performance, as well as studying the art of playwriting.
The Earl of Clancarty (CB)
My Lords, is the Minister aware of the latest figures—among them fairly catastrophic figures for arts subjects—which show a drop in England of 16% in the take-up of GCSEs in drama over the past six years? Does the Minister share the widely expressed concern that with drama being offered less and less in state schools, the acting profession will become accessible to only the well-off and privately educated? If so, what action are the Government going to take?
Lord Nash
What the noble Earl says about acting as a career could equally be said about many other careers, sadly, and that is why we have invested so much in school reform over the past five years. Specifically, we have provided means-tested support to ensure that talented 18 to 23 year-olds from all backgrounds receive the training they need to succeed in acting careers, and we have funded the Royal Shakespeare Company to provide all state schools with a free copy of its toolkit for teachers and to support young people performing Shakespeare in theatres.
Queen’s Speech
Earl of Clancarty Excerpts(8 years, 1 month ago)
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The Earl of Clancarty (CB)
My Lords, I want to make a few observations on the arts, culture, education and the media. I would like to start on a high note, so first, I very much congratulate the Government on introducing a Bill finally to ratify the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict. This is great news. There should also be a special mention of the UK’s Peter Stone of Newcastle University, who since the beginning of the year has held the first ever UNESCO chair in Cultural Property Protection and Peace and has campaigned for this legislation for the past 13 years.
Bringing broadband to every household that wishes to have it is an excellent idea and I hope that project works well. I echo what others have said about speeds. In other areas I have some concerns. I am anxious about how the intention to allow local councils to retain 100% of business rates will affect charitable bodies, including art centres, orchestras and theatres large and small, which currently are allowed 80% mandatory relief, on which many organisations depend. If this is to be left up to already cash-strapped councils, it simply will not work. Can the Minister allay my fears on this?
In a wider cultural sense, there should be some concern about the neighbourhood planning and infrastructure Bill. I am probably one of the few in this House who are a little sceptical about housing-led development, and who feel that we may be in danger of sacrificing what ought to be a sensitive, balanced and inclusive approach to urban design. One of the crises in the arts is the shortage of studio work spaces. Of course, this is only one kind of demand among many others. Nevertheless, this and other uses to which space might or should be put are increasingly likely to be shut out, not just by spiralling rents but by the not unrelated issue of the increased muscle of developers.
A different topic—arts education—was not in the Queen’s Speech. However, I want to make this point because it is timely. The petition to include arts subjects in the EBacc reached well over 100,000 signatures last month. Consequently, there will be a debate on this in the Commons on 4 July, as the Minister will be aware. I hope the Government will take into consideration the views expressed in this debate before they respond to the EBacc consultation.
I want to say a couple of things about the BBC. The way I think about the BBC—as do others—is as a public space. Public space is under threat in this country at present. Indeed, in the geographical sense of buildings and land, too much is being sold off. In respect of arts and cultural services, libraries and museums, particularly in the north, are under increasing threat from continuing cuts to local government funding—cuts which many now believe are unnecessary.
The BBC is a special kind of public space and, in this sense, the distinction that some have recently drawn between a state broadcaster and a public broadcaster is apposite. A public space should contain within it, by definition, a range of public interests, from the most popular to the specialist, but all accessible within this one space. That is why the term “distinctiveness”, as used by the Secretary of State, is the wrong language. In this context, it is about distinctiveness of product: that is to say—I think wrongly—about programme content. It is the language of the marketplace. This term is being used to do down the BBC at the same time as misrepresenting it. The BBC’s distinctiveness is already determined by its inherent shape, not primarily—and I emphasise the word primarily—by its programme content. Its shape, therefore, as a non-commercial broadcaster with programmes uninterrupted by commercials, is part of its character which should not be underestimated. If you remove the popular, the BBC would be destroyed as a public space, which would be a great tragedy.
My second point concerns the constant pressure to prove both independence and impartiality. Again, the BBC is, by definition, already both independent and impartial, because it is a public broadcaster and a public space. But with appointees to the new board accountable only to the Government, the BBC would—again, by definition alone—lose that independence. As an illustration of the current pressures, last month in the Guardian, Timothy Garton Ash, in the context of the EU debate, said that by,
“bending over backwards to be impartial … The danger … is that it reduces everything to claim and counterclaim”.
Facts then become hard to come by, and it becomes too easy to exclude other, more nuanced voices. Given the current uncertainties and the pressures on the BBC —some obvious, some less so—the terms of the charter review need to be scrutinised, and I would support this being debated and voted upon in Parliament.
Education: English Baccalaureate
Earl of Clancarty Excerpts(8 years, 4 months ago)
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The Earl of Clancarty
To ask Her Majesty’s Government what steps they are taking to ensure that children receive a balanced and rounded education in schools; and what effect the English baccalaureate requirements will have in that regard.
The Earl of Clancarty (CB)
My Lords, I am grateful for the opportunity to have this important debate. I look forward to hearing all noble Lords’ contributions and the Minister’s response. I am only sorry that we do not have more time. I thank the many organisations that have sent me briefings, all of which, without exception, either decry the omission of arts subjects from the English baccalaureate performance measure or wish to see the measure removed entirely. The consultation on the implementation of EBacc closed last Friday, but I hope the Minister will take the contributions made today on EBacc specifically in the spirit of being additional to that consultation.
There is a sense of déjà vu. It is almost exactly three years since, following a huge outcry from educationalists, arts educators and the creative industries, Michael Gove made the announcement that the EBacc certificate would be “a bridge too far”. Yet, three years on, the Bacc for the Future campaign is reconvened, and here we are again with the EBacc strengthened as a performance measure. The newer “progress eight” accountability measure may include arts subjects, but there is every sense from the Government that the EBacc is to be the most significant measure.
There are many reasons why a broad-based or rounded education is a good thing—I would say an essential element of a child’s preparation for life. I will go through some of these reasons and suggest where the EBacc or other curricula might relate to it. I have an 11 year-old daughter who will go to secondary school later this year, so these concerns are very much on my mind. First, I believe that the important thing for my daughter is that her curiosity about the world should be met by her education and that she should enjoy learning. I could stop right there, because that is the most important thing and something it is far too easy to forget in today’s political culture—not necessarily shared by all—which so firmly yokes an idea about future work and assumptions about what employers will want to education, where education has become synonymous with what is termed “academic achievement”.
Personally, I would get rid of all league tables. Germany, which has recently reorganised its school educational system and has 7% youth unemployment, as opposed to our 12%, does pretty well without them. The Cultural Learning Alliance, alongside others, argues against having the EBacc at all, not just because of the arts omission, but because there is, as it says, an already desperately crowded accountability system of measures—five of them now, including three EBacc ones—with the exclusivity of the EBacc as an all-or-nothing measure particularly concerning. This is a long way from education for its own sake.
Secondly, a broad-based education creates as many opportunities as possible, whether it is the history class that fired you up, or that particular art teacher. Children will not necessarily be excited by everything. This is the cardinal mistake that Nick Gibb made in his social justice speech last June. Real social justice is to treat children as individuals who are open to a variety of possibilities. The narrow and, crucially, uniformly set EBacc curriculum of eight subjects, which could be pushed to 10, and the average number of subjects taken at key stage 4 of eight will, once you include statutory RE and PE—and PSHE, which should be statutory—leave very little room, if any, for art, music and drama, or other subjects, including technological courses.
It ought to be emphasised that this is an observation made not just by interested arts organisations. The Association of School and College Leaders, for example, argued precisely this in its EBacc consultation, noting, as many others have, the danger that music and drama courses will end up becoming the preserve of the elite, accessible only to those who can afford private tuition, or, indeed, private schooling. Department for Education figures, quoted by the Cultural Learning Alliance, show that between 2010 and 2014 the number of hours that the arts were taught fell by 10% and the number of arts teachers fell by 11%.
Other subjects, too, are being pushed to the margins—philosophy, for instance, which AC Grayling and John Taylor of Rugby justifiably argued should have its own GCSE. Tom Sherrington of the Headteachers’ Roundtable makes the case for sociology. But what all such arguments make apparent is the increasing lack of flexibility in subject choice. What is the Minister’s reaction to those schools which are resistant to the EBacc, particularly considering that an ASCL survey last year found that a staggering 87% of secondary school leaders are unhappy with the EBacc proposals? One of the conditions, too, of the setting up of academies was that they should provide a broad-based education, which, as I will endeavour to show, the EBacc, by its very nature, opposes.
Thirdly, a narrow curriculum will be a poorer one because a broad-based curriculum is one that, in a good school, will allow subjects to have conversations with each other. I like very much the developmental psychologist Howard Gardner’s description of the international baccalaureate—a more broad-based, balanced and outward-looking curriculum—as one which helps students,
“think critically, synthesize knowledge, reflect on their own thought processes and get their feet wet in interdisciplinary thinking”.
In this sense, an EBacc without the arts should be unthinkable; a core curriculum without the arts will not raise standards but lower them. Students being able to make connections between disparate subjects is not only part of the learning process; it will be that innovation that fires the future.
Finally, a rounded education treats the main areas of education as being of equal value. This is not just good for the pupil; it is good for society that in later life the scientist or technologist should have an equal respect for the artist or creative, and the artist the same respect for science. A broad-based education is not the enemy of specialisation but part of the same process—the T-shape. I do not know whether any of your Lordships have read the remarkable blog by 16 year-old Orli Vogt-Vincent in this week’s Guardian, which describes the prejudice she has had to face at her school, not just from fellow students but from teachers too, in deciding to choose dance as a main subject of study—shades of “Billy Elliot”.
But this kind of experience seems to be becoming increasingly common again, and unfortunately what the EBacc will do is institutionalise this prejudice further, and further polarise subject areas in schools which will not be a reflection of the reality outside. The artist Bob and Roberta Smith made an interesting contribution to last year’s Warwick Commission report when he said that CP Snow’s “two cultures” distinction of science and humanities—for which you can also read the arts—
“had been made irrelevant by … the power of digital technology”.
We have, for instance, a burgeoning video games industry which is dependent—as so much new enterprise is—on a number of different interactive disciplines. It happens to be crying out for fine and graphic artists, but the industry has to go abroad to obtain them. Nevertheless, the latest figures, released by the DCMS last week, show that the creative industries are now worth £84.1 billion, so we must have been doing something right somewhere —at least in the past. Because why then, even using the Government’s own arguments about education and work, is not the huge importance of the creative industries being reflected in a similar status for arts and art and design education in our schools?
Through changing the culture, the EBacc will have an effect throughout all the key stages and beyond. Why, for instance, would primary schools take seriously subjects that are considered inferior at a later stage? The National Society for Education in Art and Design, in a survey of more than 1,000 educators, the full results of which are to be presented at next week’s all-party art, design and craft education group meeting, indicates that in the last five years 53% of key stage 3 art and design teachers report a fall in levels of attainment at secondary transfer, whereas only 6% said that standards had increased.
At present, the EBacc subjects are taken up by just over a quarter of students. The Cultural Learning Alliance has shown that in the last five years take-up of GCSE arts and design subjects, including music, drama and design and technology, among other subjects, has already dropped by 14%. What, then, will be the outcome for a balanced education if the Government achieve their current target of 90%?
I repeat that the vast majority of secondary school leaders oppose the current EBacc as it stands. The National Association of Head Teachers, the NUT, the Creative Industries Federation, the Music Industries Association, the Design Council and the CBI—the list goes on and on. Hundreds of organisations and institutions have expressed concern over the omission of creative subjects from the EBacc as well as its inflexibility.
The EBacc is a flawed measure. It should either be radically reformed, or dropped entirely.
Creative Sector: Educational Provision
Earl of Clancarty Excerpts(8 years, 11 months ago)
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Lord Nash
All good schools will encourage their pupils to engage in these activities. It is all part of a well-rounded education. We are seeing this across the board. We are also seeing the creation of new free schools that focus specifically on arts and music. We have the East London Arts and Music Academy, the Plymouth School of Creative Arts, and my noble friend Lord Baker will be pleased to hear that we have a number of UTCs specialising in creative and digital media.
The Earl of Clancarty (CB)
My Lords, does not the Minister agree that the point about a truly rounded school education is not only that it is a good in itself, but that it is the very thing that employers demand?
Schools: Arts Education
Earl of Clancarty Excerpts(9 years, 7 months ago)
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The Earl of Clancarty
That this House takes note of the case for arts education in schools.
The Earl of Clancarty (CB)
My Lords, I am very pleased that we are having this debate today concerning arts education in schools. I welcome to this Chamber the noble Baroness, Lady Evans of Bowes Park, and I very much look forward to hearing her maiden speech. I also look forward to hearing the speeches of all noble Lords, as we have represented in this debate a wide range of experience of the arts as well as expertise in education. I come to this debate as someone with two points of view: as an artist, and therefore with a particular concern for arts education—I declare an interest as a vice-chair of the All-Party Parliamentary Group on Art, Craft and Design in Education—but also, as is true for other noble Lords, as a parent.
A week ago today my noble friend Lady Kidron led an important debate on children’s digital rights on the 25th anniversary of the UN Convention on the Rights of the Child. Article 31 of the convention, which is quoted at the top of the Cultural Learning Alliance’s manifesto, states that nation signatories shall,
“respect and promote the right of the child to participate fully in cultural and artistic life and shall encourage the provision of appropriate and equal opportunities for cultural, artistic, recreational and leisure activity”.
Comparable wording stressing a minimum level of arts education is expressed by Darren Henley in the first recommendation of his 2012 cultural education review, which has been fully endorsed by the current Government.
Implicit in the UN definition is that arts education is a good in itself. I would go further: education is a good in itself. It is not merely a preparation for work, nor even necessarily a preparation for life, if we consider that a good education will instil in the child a constant curiosity and questioning about the world—a love of lifelong learning. The arts are and should be an integral part of that vision.
The excellent Library briefing states the Department for Education’s definition of the arts as comprising art and design, music, drama, dance and the media arts. More particularly, we might also cite literature—English literature having a special place in the curriculum—the decorative arts, including craft, and architecture, as well as film and the digital arts. “The arts” is a traditional term, but the arts themselves are both old and brand new. Indeed, as we speak, artists in many media are making new work in new forms, reacting to the world as it is today and discovering new technologies. At the outset, then, I say that it is vital that schoolchildren are exposed to contemporary art and contemporary drama—for instance—as much as to Michelangelo or Shakespeare. The teaching of visual literacy in schools, which many, including Sir Nicholas Serota, see as an essential aspect of life in the 21st century, should involve a critical understanding of new art as well as old.
However, when as a parent I ask myself what I want from a school education for my nine year-old child, I would say yes to access to the sciences, the arts, the humanities, to languages—I would love my child to learn a second language fluently—and access to sport. As a parent, then, I want to see a broad-based education where my child is exposed to a range of subjects. If we are thinking about the whole child, as I certainly am, we should be giving careful thought to what goes into the making of that whole child. As Clara Oswald in “Doctor Who” says:
“The soufflé isn’t the soufflé. The soufflé is the recipe”.
Eggs are good and milk is good, but it is that mix of ingredients, the interplay between contrasting subjects, that is the vital heartbeat of an excellent education.
That is why the Education Secretary is so wrong when in her recent speech at the launch of the “Your Life” campaign she stated that arts and humanities subjects will not give young people the skills that they need to pursue a career. She is wrong because she seems to understand education only through the narrow prism of the labour market. An attack on the arts is an attack on education as a whole and on the fundamental importance of a balanced education. Denigrating the arts means also devaluing the sciences, as would be true the other way round.
Her speech also contradicts what employers in the UK are beginning to understand. The CBI said last year that a significant number of firms needing employees with STEM skills and knowledge had difficulty recruiting because they were not rounded or grounded. The Royal Bank of Scotland said only last week that it now wanted to employ arts graduates because it believed that its economists and mathematicians showed too much so-called linear thinking, which the bank had the temerity to suggest was in part responsible for the financial crisis—and it might be right. For this kind of education to take place in schools, which is where it starts, the arts, sciences and humanities subjects need to maintain their integrity as identifiable subjects in their own right. That is why I am talking about arts subject, not about creativity. The arts need to be treated as significant equal elements within the school educational system.
It is a sad reflection on our educational system that the case for an arts education in schools needs to be made, because arts subjects are under threat in a number of significant ways. To be fair to this Government, although there are specific current issues which need to be addressed, this has been true for a while. Since 2003, the number of students taking art and design GCSEs has fallen by 13%, music by 10% and drama by 23%. Overall, the take-up of GCSE arts subjects has fallen by 28%.
Then there is the question of the national curriculum itself. It currently makes very little mention of either dance, which is only included in PE, or drama, which has been removed from English and, unforgivably, given no curriculum place from the ages of five to 14. Film and the media—and I have already mentioned one of the country's great broadcasting exports—now receive no mention at all. It is excellent that the Government are introducing computer coding into schools, but there is no mention in the curriculum of the digital world in relation to the arts, although in various ways this is already an important aspect of the arts and creative industries. The status of arts subjects is also plummeting in other ways. We are seeing the continuing development of an ever more layered hierarchy of subjects within the system of performance measures. This is already having a real effect on the take-up of exams and indeed on the choices on offer in schools.
The EBacc has not gone away. Early last year we had a full and public debate on the EBacc when it was rightly criticised from all sides for its prescribed bias against the arts. Its effect remains as insidious as if it had become a full-blown qualification. In the debate in your Lordships’ House on 14 January 2013, the noble Lord, Lord Clement-Jones said:
“I have never seen the creative sector so united against what appears to be a two-tier approach by the Government to educational qualifications”. —[Official Report,14/1/13; col. 551.]
Now, with Progress 8 and the double weighting of maths and English, arts subjects will lie at the third and bottom tier of the new system. The University of the Arts London has said that this has damaged the perceived status of art and design in the eyes of parents and within some schools. In its 2014 Educator Survey report, the National Society for Education in Art and Design says that more than half the heads of departments agree that the EBacc has played an important role in the organisation of the art, craft and design curriculum. The take-up of arts GCSEs has declined by 13% since it was introduced in 2010. UAL, the NSEAD and the Cultural Learning Alliance all recommend that the Ebacc performance measure be dismantled. How can the Minister defend this hierarchical system now so hugely biased against the arts? In terms of accountability, are there any plans for Ofsted to recognise and comment on the quality of the arts in its reports?
There is also the effect of the amalgamation in 2013 of many arts subject discount codes, a further performance measure that is having a serious effect on options. For noble Lords who do not know, subjects given individual codes count individually, while those with joint codes do not. We are grateful to the Government for listening to the arts education community so that this year dance and drama and fine art and photography were separated, but it is a case of two steps forward following numerous steps back. UAL and the NSEAD point to the still unseparated GCSE and AS-level fine art, graphic communication, textile design and 3D design subjects. Comparing these and certain closely related but separated maths subjects, for instance, it is illogical that the maths subjects can often be taught by the same person while the arts subjects are distinct specialisms that may well need different teachers for those subjects to be taught to an adequate standard.
Over the past four years, there has been a decline of 7% in arts teachers and, crucially, a 6% decline in arts teaching hours. The last month showed an increase in the number of allocated places for arts teachers, but the significant flipside to this is that many of the teachers will be taught within a school setting rather than coming through university PGCE courses. The Government talk about good teachers as though somehow they drop from heaven, but good professional specialised teachers provide a necessary value for teaching that would not otherwise occur. It will increase the possibility that teachers can teach more than one specialism in the arts when the need arises. They are more likely to provide a greater in-depth knowledge of the subject and an understanding of both the wider educational and arts professional frameworks.
I want to say something about the initiatives, programmes and partnerships that this Government are encouraging and/or funding. They vary in scale and scope from smaller ones, such as the BBC's partnership with the Public Catalogue Foundation to bring real paintings into the classroom and the new partnership between the Tate and the popular computer game “Minecraft”, through to the Sorrell Foundation art and design Saturday clubs and the ambitious setting up of the 123 music hubs. Many of these programmes are imaginative and to be welcomed, as is the money that the Government are putting into them, but I argue that they should be the icing on the cake. They are in some cases very good icing but they are not the cake, and should not be the basis for a national school arts policy. As a means of solving the problems that exist in schools, they are inefficient because the money does not go directly to the schools themselves. None of these programmes addresses all schools, either in terms of the curriculum itself or in terms of the provision of resources. Some funding will be intentionally selective in its application, such as for the National Youth Dance Company, which will target only the “brightest young dance talent”. The point then is not one of quality but, as UAL says,
“additional programmes ... do not have the capacity or reach to engage with young people across the country and should not be considered a substitute for a high quality art and design offer in schools”.
National Drama says that the RSC Learning Toolkit, while useful,
“is not an acceptable substitute for a national curriculum for drama, with a broad programme of study for Drama that needs to be arrived at through democratic consultation”.
In the excellent music debate led by my noble friend Lord Aberdare on 24 October, two major related themes emerged. One was a concern about the patchiness of the reach of music hubs and, secondly, that deprived areas in particular would not be sufficiently addressed. The problem is that music hubs will always be inherently patchy. They simply do not directly address the real concerns, which are the funding, provision and encouragement of music and the necessary resources, including costly instruments, within schools themselves. A comparable problem, of course, exists for the provision of art materials and resources for art and design courses. As the Cultural Learning Alliance points out, the money put into these programmes does not replace the funding that in other ways is being removed, with education funding in real terms dropping by 13% between 2010 and 2014. There are also the knock-on effects of cuts to the arts themselves and the reduction in Arts Council portfolio organisations, the reduction in outreach and the inevitable isolation of some schools as a result.
The DfE states that 21% of schools with a high proportion of free school meals withdrew arts subjects in 2012. The Child Poverty Action Group said in a report earlier this year that, for poorer children, cost—that is to say, the increasing hidden costs now occurring within state schools—was a factor when deciding whether to study subjects such as photography, art, music and design and technology. There is a real danger, highlighted recently by the acting profession, that the arts will become a province only of the rich. We need to get the emphasis back to schools and the funding and provision for arts subjects within them so that there can be universal access to arts education, replacing a current policy based on piecemeal initiatives. We need to reform performance measures so that arts subjects have a proper place again within the school curriculum. This will be healthy for education, for society and for the labour market. I beg to move.
The Earl of Clancarty
My Lords, I thank every noble Lord who has spoken in this debate. I particularly congratulate the noble Baroness, Lady Evans of Bowes Park, on a very valuable contribution, and extend a warm welcome to the noble Lord, Lord Cashman.
I need to say that the noble Lord, Lord Lloyd-Webber, very much wanted to be here today to talk about his work with schools, but was unable to because of other commitments. However, hot off the press as it were, he has given me a quote which I think makes an interesting observation:
“There is currently no legislation that ensures every child has an entitlement to high quality arts provision throughout their education. High quality teaching and in depth experiences benefits not just individuals, but schools, communities and the wider economy”.
That chimes with the fundamental point that many noble Lords have made: that a good arts education is a necessity. This is apart from the huge importance of the arts and creative industries to our economy, a fact many noble Lords rightly emphasised.
I thank the Minister for giving a comprehensive reply to this debate and answering many noble Lords’ questions. We can certainly argue about the statistics. Significant concern about the future of arts education in schools has been expressed today from all sides of the House. Many have said that the arts need to have a central role in the curriculum. I hope that the Government will take away these concerns and reflect on them carefully. I beg to move.
Education: Social Mobility
Earl of Clancarty Excerpts(10 years, 3 months ago)
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The Earl of Clancarty (CB)
My Lords, I am grateful to the Minister for giving us the opportunity to participate in this debate. I thank the House of Lords Library for an excellent briefing paper. I want to talk about two things: social mobility generally and, secondly, the area of education that is my specific concern: arts education. I declare an interest as a vice-chair of the All-Party Parliamentary Group on Art, Craft and Design Education.
A number of your Lordships have carefully called social mobility “tricky”. I intend to be more critical about the term, which is today widely accepted as a social policy and, indeed, perhaps even as a goal in itself for many individuals. However, I read carefully the speech made by the noble Lord, Lord Giddens, in the debate initiated by the noble Lord, Lord McFall, on social mobility on 6 February, which challenges social mobility as a major social policy, and indeed questions whether social mobility, in the sense in which it is usually meant, operates in anything other than a limited manner.
The noble Lord, Lord Giddens, gave an education example which is worth citing. He said that,
“you might introduce a policy to help kids from an inner-city school to get into a higher level of the system, but middle-class parents can easily mobilise to negate that because they are not stupid and they know what is going on, too”.—[Official Report, 6/2/14; col. GC 166.]
In other words, they are more powerful and school education is today a significant site of competition in itself.
That is an important point about the intransigence of the system as it stands, but it also seems to me that social mobility in the sense that it is commonly understood is necessarily predicated not only on the existence of but the acceptance of a hierarchical society, because the journey taken from A to B of those who in theory become socially mobile involves moving up rungs, including rungs perceived to exist within the educational system itself, which of course will leave people behind. That is the assumption that has to be made—otherwise there will be no journey.
To me, one of the big problems with social mobility as a policy is that it is too narrow; it is not ambitious enough; it is too piecemeal. Social mobility is not about society, it is specifically about individuals. There is nothing wrong with wanting all people to do better at the thing that they enjoy or are good at—alongside knowledge of the opportunities possible, as the noble Lord, Lord Shipley, pointed out—but a policy that highlights material gain, makes money the god and its accumulation the only worthy pursuit, which social mobility also does, is inevitably flawed and ethically questionable.
What of the people who are left behind: for instance, the children in those schools at the bottom of the league tables? Do we really want “getting on”, to use the old colloquial expression, to be the overarching social policy of our time, when perhaps we should be fundamentally challenging the structure of society itself—the extreme income differences that now exist and the shaming food banks? I would say that social mobility, because it makes unacceptable assumptions about our society, is not a solution to the problem but, unfortunately, part of it.
That is of relevance to school education not least because all sectors impinge on each other. Families that are poor, struggling to survive and feel disfranchised from or neglected by society—I believe that social mobility as an underlying social principle will further promote that sense—will have school-aged children who will grow up within that culture, so the job of good education, particularly in the early years, will be made harder at those levels within society, as the noble Lord, Lord Storey, and the noble Baroness, Lady Massey, made abundantly clear.
The 2012 Institute for Public Policy Research report, A Long Division, by Jonathan Clifton and others states that,
“the problem is not just that a group of the poorest pupils fail to reach a basic level of education … Rather, there is a clear and consistent link between deprivation and academic achievement wherever you are on the scale”.
The overriding problem, then, is not bad education in itself, but greater and greater deprivation, which is something that league tables by themselves will not analyse but will in many cases reconfirm.
The comments in his blog of Peter Brant, head of policy at the Social Mobility and Child Poverty Commission, about bright working-class children believing that they will not fit in at university, which were reported last week in the Daily Telegraph, made me feel how much social mobility has become an end justifying the means, and how badly we need an education system that is understood to be geared to all individual needs, rather than trying to create a normalising effect within society. It is not the gap between educational outcomes that we should primarily be attempting to close but the gap between rich and poor.
More specifically, I believe that good education should be broad-based education for all students, particularly up to age 16, and also—this may be a high ideal but it is worth fighting for—that every pupil deserves an education that is beneficial to them individually, which, ideally, means as much choice as possible, particularly at secondary school level, including vocational training, which, as the noble Lord, Lord Baker, pointed out, has been so successful in Germany.
On the point about a properly broad-based education, it is for that reason that I would support STEM becoming STEAM. This is one of the major recommendations of last year’s Culture, Media and Sport Committee report, Supporting the Creative Economy, and is supported by Maria Miller, who made this clear in her speech at the British Library in January. Is the message getting through to the DfE that art and design subjects should have the same level of support in the core curriculum as STEM subjects, and is the department giving this serious thought? Having said that, though, and having listened earlier to the passionate and convincing arguments from the noble Baroness, Lady Coussins, in favour of greater take-up of foreign languages, I wonder if there is not an excellent case to be made on strong cultural and economic grounds for extending STEM to STELAM, where L could stand for languages and A for art and design.
Choice, however, is also important. I want to take the opportunity to expand a little on the issue of discount codes, which I raised with the Minister in an Oral Question last month. The arts education community is very pleased with the decision to separate dance from drama at GCSE level so that they do not now count together as a single unit towards the performance tables. However, the GCSE art and design subjects, many of which carry the same code, JA2, need to be looked at as well. The Council for Subject Associations states that it is,
“unreasonable and illogical to assume that the differences between an endorsed Photography GCSE and Fine Art GCSE are of little significance”.
It seems fundamentally unfair that these two subjects, alongside others including textile design, should have the same code when the perhaps more closely related mathematics and statistics have different ones.
The National Society for Education in Art and Design says—the Minister may be particularly interested in this as the evidence that he is seeking—that:
“We have had teachers telling us that some art courses will no longer run in their schools, or that different art courses are put in one option block so that students can only pick one when previously they could pick two”.
It seems entirely logical that because of the enormous influence of performance tables, there will be a tendency for schools quite quickly to seek to mirror the performance criteria themselves to achieve the best outcomes in those tables. I hope that the Minister will review the GCSE codes for art and design subjects, and perhaps agree to meeting with interested parties on this issue.
Schools: Arts Subjects
Earl of Clancarty Excerpts(10 years, 4 months ago)
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The Earl of Clancarty
To ask Her Majesty’s Government what encouragement they will give to the take-up of arts subjects in secondary schools; and whether that will include a review of the current school performance discount codes.
The Parliamentary Under-Secretary of State for Schools (Lord Nash) (Con)
My Lords, the Government believe strongly that every child should experience a high-quality arts education. Music and art and design are statutory subjects for key stages 1 to 3 in the new national curriculum. The arts remain an entitlement area at key stage 4. From 2016, our new Progress 8 accountability measure provides schools with more incentive to enter pupils for arts subjects. Up to three can be included. Discount codes for drama and dance are being reviewed.
The Earl of Clancarty (CB)
My Lords, I thank the Minister for that reply and welcome the review of the discount codes. In the light of the figures recently released by DCMS on the value of the arts and creative industries to the economy, will the DfE seek to reverse the continuing trend towards fewer arts GCSEs being studied within schools? Will the Government review the discount codes which group together many disparate GCSE art and design subjects so that they count as one subject only towards performance tables, biasing the tables and, indeed, schools against the arts?
Lord Nash
I share the noble Earl’s passion for the arts and know that it is an area in which he has great experience. I am happy to report that key stage 4 entries for arts subjects have not significantly changed since 2007 and currently account for 9% of all key stage 4 entries. I assure the noble Earl that we take discounting very seriously. We are looking specifically at how it works as it is so important that schools are not incentivised to offer pupils a narrow curriculum, although it is equally important that pupils take subjects that are distinct from each other. We are reviewing how the discount codes for dance and drama work, and we are also considering whether to allow appeals against the discounting decisions that have been made in other areas if there is evidence to support reconsidering our initial consideration.
National Curriculum
Earl of Clancarty Excerpts(11 years, 3 months ago)
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The Earl of Clancarty
My Lords, I find it bizarre that a national curriculum can be so much the product of those—some might say of a single individual—who, in their day-to-day work, have such an overtly political agenda. Surely our country’s national curriculum should be in the hands of an expert independent commission, at arm’s length from Ministers. If the national curriculum still has significance when the voting age is reduced to 16—as I think will happen—there will be an even greater need for the content of national school education to be as free as possible from political interference. Will the Minister tell us whether the coalition would consider taking the planning of the national curriculum out of ministerial hands, and make it wholly independent of politics?
A school education should give students basic information and frameworks in which to work. Beyond that, it should provide them with the wherewithal to think for themselves. At least by their teens, young people should be encouraged to bring their own interpretations and thinking to bear on contemporary issues that should be part of the curriculum, including debates around climate change and gender politics, among others.
Following the theme of individual thought, with reference to the statement on page 5 of the document concerning provision for collective worship, do the Government understand the terms “collective worship” and “assembly” to be the same thing or do they consider the two things to be combined? If that is the case, the atheists and agnostics among us would still have to opt out, which is discrimination.
I agree with those who like to see English read, written and spelt well, and grammar understood. That is also useful for learning other languages. However, basic skills, especially in English and maths, should be sorted out in primary schools. What should not be the case is that the failures which the Government claim are occurring at primary school leaving age are carried by secondary schools. By that point, they should be developing students beyond the basic level.
Despite the arts community being so outspoken about last year’s English Baccalaureate Certificate plans, it worries me that in this draft national curriculum, the arts are still not regarded as being on an equal footing with other subjects such as the sciences. The arts are not asking to be treated as better than sciences, but to have parity. Art, design and music are given some space, but there is a fine balance between inordinate prescription and neglect. Apart from fleeting references on page 7, there is no mention of dance, film and animation, digital media or photography, while drama is mentioned in the English guidance notes. These are holes in the national curriculum. Along with many others, Alistair Spalding, the artistic director of Sadler’s Wells, is concerned that dance is now being left out of the PE curriculum. Perhaps this oversight can be rectified.
In terms of music, many are pleased that the Government are taking some notice. However, on 6 March at the Westminster Education Forum, the chief executive of the Incorporated Society of Musicians, Deborah Annetts, highlighted Ofsted’s own guidance that pupils should be able to,
“appreciate music through active involvement as creators, performers and listeners”.
This principle ought to be emphasised in every area of the arts, including drama. The Government should listen carefully to the recommendation of Josie Rourke, artistic director of the Donmar Warehouse, who would like to see within the curriculum every child being entitled to trips to visit cultural public spaces. One single experience at a concert, a gallery or the theatre can be worth many lessons.
The art and design curriculum has an old-fashioned and absolutist feel. It ignores the idea of critical looking and debate. In their teens, pupils can be engaged with contemporary art, which represents a significant area of modern-day visual literacy. Also, as others have pointed out, the term “great artist” should be replaced by “significant artist”. Who is and is not “great” is a part of the debate, while greatness is itself a debatable term. Will the Government say something about the Arts Council’s projected involvement in the GCSE syllabus for arts subjects? A good and practical arts education should demonstrate as full a panoply of techniques and media as possible, new as well as old. A similar criticism can be made of music, which now lacks a reference to music technology, including electronics, computers and recording.
If, as many increasingly believe, the arts and creative industries are crucial to Britain’s economic recovery, there needs to be a greater sense of urgency from the Government about the provision of an excellent and comprehensive arts education that is available to all. The national curriculum should reflect that.
Education: Curriculum, Exam and Accountability Reform
Earl of Clancarty Excerpts(11 years, 4 months ago)
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The Earl of Clancarty
My Lords, I thank the Government for listening to the many voices of concern, including those from the arts, about the operation of a two-tier system. We have had good news today; nevertheless, issues remain. Does the Minister accept that for the Government to be consistent in their response to these concerns, any performance measure should not continue to discriminate against subjects, including arts subjects? The Minister will be aware that this is currently having a significant effect in schools with the EBacc performance measure presently in place.
Schools: Arts
Earl of Clancarty Excerpts(11 years, 7 months ago)
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The Earl of Clancarty
To ask Her Majesty’s Government, in the light of their proposals to change the school qualifications system, what plans they have in relation to the teaching of the arts in secondary schools, including visual arts, drama, music and dance.
The Parliamentary Under-Secretary of State for Schools (Lord Hill of Oareford)
My Lords, creative subjects such as art, drama and music should be part of pupils’ educational and cultural experience. We are considering how to ensure that high-quality qualifications are available in these subjects and will make an announcement in due course. We recognise the importance of the arts through our national plan for music education and our support for the music and dance scheme. This year we are spending around £110 million on music, dance and other creative arts in schools.
The Earl of Clancarty
My Lords, the Minister will be aware of the huge concern expressed by many in the arts about arts and design being omitted from the EBacc—a concern, will the Minister take note, shared by the CBI? Does the Minister accept that if cultural skills and learning do not take an absolutely central role in the school curriculum, we will lose out in the development of the creative industries, which are going to play, without a doubt, a significant part in the regeneration of this country?
Lord Hill of Oareford
My Lords, I agree very much with the noble Earl about the importance of the creative industries and about the importance of those subjects—it is important that they should be taught in schools. I am aware of his concern about the EBacc and the anxiety that it might lead to a narrowing of what is offered in schools. We think that the EBacc, for those schools that want to follow it, would still allow between 20% and 30% of the timetable to be used for the teaching of other subjects, including important ones such as music, art and design, and drama.