Education: A-levels in Creative Subjects
Earl of Clancarty Excerpts(8 years ago)
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The Earl of Clancarty (CB)
My Lords, I thank the noble Baroness, Lady Brinton, for her excellent introduction to this debate. Following the announcements of the discontinuation of history of art and archaeology A-levels on 12 October—three weeks and one day ago—there was an immediate outcry, which has not died down. Yet so far we have had no satisfactory response from the Government, so today I will listen to the Minister’s answer with great interest. This outcry is all the more remarkable—tens of thousands have signed petitions and hundreds have written to the AQA—considering that relatively few students presently study either of these courses. I will argue that many more could, yet it is clear that the value of these subjects to the country as a whole is the more significant consideration.
For instance, Mike Heyworth, director of the Council for British Archaeology, has said that the decision to discontinue archaeology is “disastrous”, telling the Times that this is,
“just at a time when we were looking to expand our support for the revised A-Level and its link with apprenticeships”.
The Royal Academy, the Courtauld Institute and many schools are among those who criticised the art history decision. Deborah Swallow, director of the Courtauld, has said:
“History of art is a rigorous interdisciplinary subject that gives students the critical skills to deal with a world that is increasingly saturated with images”.
Simon Schama tweeted,
“this government determined to impoverish the next generation”.
It is difficult, if not impossible, not to see such developments except within the wider context of the more general downgrading of the arts within the school educational system. Last year, for example, we also lost creative writing as an A-level. We also have a GCSE system, the EBacc, referred to by the noble Baronesses, Lady Brinton and Lady Nye, which excludes arts subjects from the core subjects. This year that has already led to a drop of 5% in take-up in art and design subjects, and it is having a detrimental influence on the teaching and perception of arts subjects at every key stage. On the subject of the EBacc, can the Government give further news of when they will respond to the consultation, since it will be one year this Wednesday since it opened?
One of the reasons given for the discontinuation of art history is the number of students studying it, yet teachers are repeatedly saying that the course is so popular that they have to cap the numbers. The BBC reports Godalming College, a state sixth form, as saying this, and Rose Aidin, who runs the A-level course at the Wallace Collection, says that there is a waiting list for this course which includes state school students. This again raises the issue of what subjects are encouraged to be studied in our state schools as a whole and whether the demands from students are being properly met.
A criticism of art history that has been made, notably by the art critic Jonathan Jones, is that it is a so-called posh subject. It is true that around 75% of students come from private schools, but this still leaves a quarter of students from state schools. If the course is cut, state school children will be barred for ever. Private schools will still run art history courses, and they will be right to do so to maintain the balance between arts, humanities and sciences which is increasingly denied within the state school system. Private schools will then own the subject, and their students will have the advantage in continuing on to degree level despite what AQA has said to the contrary. Again, this will be part of pushing the arts further into the hands of the better-off, which is already happening with music and drama.
Indeed there is nothing that says that art history or indeed any art subject is inherently posh. In 2013, in a talk on global citizenship Sir Nicholas Serota said:
“Art is a fundamental part of the public realm. In their work, artists express ideas, attitudes and beliefs. Often, these are central to politics, society and economics”.
This is true of all ages, and visual literacy should, in the 21st century, be a central aspect of our education.
One irony about the history of art A-level is that the new syllabus is intended to appeal to a wider range of students and to cover a wide range of cultures, as it is concerned with art on a global scale rather than concentrating on the history of western art. Learning about the arts is inherently about reaching out to other cultures, the importance of which, in our current more insular climate, we are at risk of dangerously underestimating.
The provision of creative subjects in primary schools and at key stages 3 to 4 lays the foundations of a rounded education which will give children the most informed basis for making a more specialised choice, a choice which should be as wide as possible if students’ needs and capabilities are to be fulfilled. Yet, in recent years, we have been cutting down on that choice. Justine Greening said last week that girls need to be encouraged into STEM subjects. A lot of them are studying arts subjects and would like to continue to do so. We could just as easily turn this question around and ask where are the boys in arts subjects. STEM needs to be expanded to STEAM.
AQA has also cited as a prime reason a lack of competence in marking art history and,
“the complex and specialist nature of the exams”.
I do not believe for one moment that there is not the expertise in this country to address this. Will the Government intercede on this matter in particular? In the end, it is not AQA which should be held responsible. The Government are responsible for our education, and they need to be held to account.
I do not know what the Minister is going to say about the future of the threatened A-levels. I hope he will not hide behind the reasons given by AQA and that he will supply us with good news about the continuation of these subjects that will at least make one or two of our arguments redundant.
Education (Pupil Information) (England) (Miscellaneous Amendments) Regulations 2016
Earl of Clancarty Excerpts(8 years ago)
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Lord Storey (LD)
My Lords, it is important that schools know how many of their pupils have English as an additional language. I hope that means that extra resources and support can be provided for those pupils. Indeed, schools and local authorities have been doing this for decades. However, the requirement for every school in England—by the way, we are not talking about Scotland, Northern Ireland or Wales—to collect information en masse about every child’s country of birth is, frankly, unbelievable.
These regulations were made on 20 July and laid before Parliament on 27 July, after Parliament had risen for the Summer Recess. They were rushed through Parliament in the six-week summer holiday with no debate, no proper scrutiny or, indeed, public consultation. You might have thought that the DfE would have wanted to consult, take soundings and take the views of a range of organisations before embarking on this requirement. However, that was not the case. The regulations were rushed through Parliament and that was it.
Against a backdrop of a massive increase in anti-immigration rhetoric, as witnessed by big increases in hate crime, and at one stage the Government considering asking firms to report on the number of foreign staff they employed, there is real concern among members of different ethnic groups about victimisation and being targeted. I am afraid that this proposal has all the hallmarks of racism, particularly as language codes are already recorded for pupils with English as an additional language, as are codes on their ethnic background. We have already seen the effects of this new requirement. It became a duty for schools to collect this information this September. Some schools have asked pupils to bring in their passports. Can noble Lords imagine pupils having to bring in their passports? In investigating the school census, Schools Week found classroom discrimination whereby only non-white children were being asked to bring in their passports to school. The Independent reported that where parents do not provide information, teachers will be asked to guess the ethnicity of pupils. Is it any wonder that children and young people have felt discriminated against and embarrassed in front of their peers? The Government may say that the guidelines state such and such, but that is a very different matter from practice in schools.
What is the purpose of collecting the information? The Minister says in his letter to me that the information will help us to understand the impact of migration on schools—for example, what extra support we may need to provide. However, there is no extra budget financing. He goes on to say that it will help us plan how we ensure there are enough good places for every child. However, knowing where a child was born has nothing to do with school place provision. The DfE says that the information will not be accessible to the Home Office, but already on 18 separate occasions since 2012 the National Pupil Database data have been handed over to the Home Office, while information has been granted to the police 31 times.
The actions of the Government and statements from them on nationality and country of birth have also raised real concerns about the confidentiality of the school census as a whole and the child’s personal data given by parents in good faith when their child enrols at school. If information from the school census can be shared with other agencies, for example the Home Office and police, without any oversight at all or consent, what does that say about the confidentiality of such information? By acknowledging that the nationality and country of birth data are too sensitive to be kept on the National Pupil Database with other data, are the Government suggesting that that database is not a secure place for a child’s data to be stored? How does this rest with our child safeguarding responsibilities?
I am very grateful to the Minister for his letter of 26 October, in which he made a number of key points. I hope that when he responds to the debate he will deal with some of them. He says that the new data on nationality and country of birth will be provided to schools by parents only if they choose to do so. It will be entirely optional. What is the point of all this if, at the end of the day, it will be entirely optional? How will that affect the need for extra resources or school placements?
On the question of passing information to the Home Office, the Minister says that it is solely for internal Department for Education use. How can we have a 100% cast-iron guarantee that this information will not be passed on to other agencies? He also talks about how we currently give information to private organisations and for research purposes. Is there to be carte blanche? What checks and balances are currently in place when people ask to see this information, and how do we ensure that if we agree that information goes to a private organisation, we are happy that it will be treated correctly and properly?
Finally, to go back to the point I made at the beginning, the Minister talks in his letter about extra support. Are we to understand that there are plans to provide extra financial support for schools which have children from different ethnic backgrounds?
Children are children, and to use their personal information for immigration enforcement is disingenuous, irresponsible, and not the hallmark of a tolerant, open and caring society.
The Earl of Clancarty (CB)
My Lords, I thank the noble Lord, Lord Storey, for introducing this Motion and I agree with his concerns.
There are two aspects to this. One is concern over whether school census data might be passed to the Home Office for immigration purposes, and the other is whether the gathering of these data oversteps the bounds of privacy, whether or not there is any usefulness for education. I have to say that but for the perseverance of campaign groups such as Against Borders for Children and Jen Persson of defenddigitalme, we would be none the wiser about the sharing for immigration purposes of the National Pupil Database between the Department for Education and the Home Office that has already gone on.
It has taken two freedom of information requests by Pippa King as well as Parliamentary Written Questions from Caroline Lucas to uncover, for instance, that in the last 15 months alone, requests to a total of 2,462 pupils have been made by the Home Office. I therefore feel that it is already very difficult to trust any reassurances that the Government now might make for the future. These revelations also contradict the statement that the noble Viscount, Lord Younger of Leckie, made in this Chamber on October 12 when he said,
“I reassure the House that the information is kept within the Department for Education and is not passed on to the Home Office”.—[Official Report, 12/10/16; col. 1890.]
This is clearly untrue, and I hope that this statement will be retracted. So far, the Government have said nothing about these disclosures.
We learned at the weekend from the report in Schools Week that the noble Lord, Lord Nash, has said that the nationality and place of birth data would be kept in a separate database. This raises a number of questions, not least whether this is a tacit admission that the NPD is not a secure place already in terms of data sharing—and of course we know now that it is not. But I would like to know what would be so special about this separate database. What is the precise wording that will ensure that these data will not be shared with the Home Office? Will this be a legally binding agreement? That these data would be on a different database seems to me to be meaningless in itself. What, then, of the NPD? Can the Minister assure us that those data, aside from nationality and birthplace, will not be shared in the future with the Home Office? What is the wording of any agreement which will ensure that?
Parents are upset, not just about how this information might be used but because these questions are asked at all. They are fundamentally intrusive in the same way that the listing of foreign workers would be. We also know that the same questions are also being asked of school governors. If it is unclear how pupils’ data can be used for the improvement of their education, it seems that the same information on school governors does not have anything at all to do with either a good education or good governance.
One of the things that ought to be emphasised is that these questions are in one important sense mandatory. You cannot leave them blank and, despite what it says in the guidance, parents have been asked for their passports for the simple reason that when the department asks a school to do something, they will naturally try to do so as effectively as they can. It is true that you can currently put “Refuse” as an answer, which parents are quite rightly doing out of protest at being asked these questions, but for many parents this will appear a provocative response. Can the Minister say whether there would be a straightforward opportunity for parents who are unhappy about having already given the information to have it retracted? Having “Refuse” as an option is a telling recognition that this is a sensitive area and, if these regulations continue, it will not surprise me at all if in a year or two that option is removed.
As everyone in education knows, it is a hard job to get pupils who may be excluded from mainstream education by circumstance into education. We need to get all our children into school, not frighten them away. In a sense, the Minister let the cat out of the bag in answer to a question from the noble Baroness, Lady McIntosh of Hudnall, that,
“it better enables us to monitor immigration issues within this country”.—[Official Report, 12/10/16; col. 1889.]
How is that a function of the DfE? Data gathered by the DfE should not be used to monitor immigration issues. Teachers are not border guards.
This is a children’s rights issue. Many parents are against the provision of these data and campaign groups have displayed serious concerns about it. The regret Motion of the noble Lord, Lord Storey, is unfortunately well founded.
School Census: Pupils’ Nationality
Earl of Clancarty Excerpts(8 years, 1 month ago)
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The Earl of Clancarty
To ask Her Majesty’s Government for what purpose they intend to use the information ascertained from the newly introduced question in the school census on pupils’ nationality.
Viscount Younger of Leckie (Con)
My Lords, we will use information on pupils’ nationality and country of birth to understand how we can give all pupils a better education that caters to their individual needs. If there are people whose first language is not English, we will be able to see how well they are doing and how we can help their school to contribute meaningfully to raising pupils’ outcomes. These new data are solely for the DfE to use in research, statistics and analysis.
The Earl of Clancarty (CB)
My Lords, is the Minister aware that parents are appalled by the introduction of these questions on nationality and place of birth, which have nothing to do with a good education? Is he further aware that a freedom of information request has revealed that the Home Office has frequently used the pupil database for immigration purposes? Does he not therefore agree that these questions are on the same level of intrusiveness as listing foreign workers, and should be removed from the census?
Viscount Younger of Leckie
My Lords, the census covers a range of things, and we should be aware that children of foreign nationals can face additional challenges upon starting school in the UK. They are not likely to speak English fluently and may not have been here for the full school choice or application round, so they are more frequently placed in schools that, ideally, they would not choose. The education system they have arrived from may be different from the English system, so they may be behind our expected standards simply because they have yet to cover elements of our curriculum. Understanding nationalities helps us to put the right policies in place to help those children, and there are safeguards in place.
Schools: Drama
Earl of Clancarty Excerpts(8 years, 2 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, 6 months 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, 9 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(9 years, 4 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, 11 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, 8 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, 9 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.