Schools: Arts Education

Lord Cashman Excerpts

Thursday 27th November 2014 Lords Chamber

[Lord Cashman (Lab)]

My Lords, I thank the noble Earl for his eloquence in introducing the debate. I, too, look forward to the speech by the noble Baroness, Lady Evans of Bowes Park. I declare an interest as a member of British Actors’ Equity; I have held that membership for some 50 years.

I want to make the moral case for arts in education—first, by giving a personal perspective. Growing up in the East End of London, the son of a docker, from the very day I was born my life was set out before me. I failed my 11-plus and I went off to my secondary modern school as a rebel in search of any cause. It was then that I discovered drama—or, rather, a drama teacher discovered me. Then there was the wonderful experience of going to see “Oliver!” in the West End of London when I was 11 years old, leaning forward in those cheap seats that we used to call the gods, and thinking, “I never, ever want this to end”. The irony was that I was discovered in a secondary modern school singing in the end-of-term school show, and within three months I was playing Oliver in that very same West End production.

That changed my life for ever. Before that I had no concept of theatre, performance arts or even of drama as a subject. Suddenly there was a focus for the energy that made my father boast—at least, I think it was a boast—that if I had not gone on the stage I would have ended up in prison. I began a career as an actor that lasted 37 years. It taught me so many things. This is why the arts, drama, music, film and media studies—everything that the noble Earl outlined—are so important in education, because they affect every single thing that we do.

I am talking not only about communication skills, which some of us have and some of us do not, but about confidence skills. At how many moments during the day do we stand up thinking, “I can’t do this”? Somehow, though, we have learnt to masquerade and pretend that we can, and we carry it off because we have the ability to imagine that there is another idea, another option. The team-building and discipline that come from the arts in education last for the rest of people’s lives.

The idea that we have to choose between arts and sciences is utter nonsense. The two are married together. Indeed, it was learning the disciplines as a young actor that allowed me, in my mid-20s, to study science and to achieve, in 11 months, my O-levels and A-levels. I could never have done that if I had not had the courage, the confidence and the ability to imagine.

I am going on far too long about me, though, and it is vital that I say some of the things that I have properly prepared to say. What I have said so far explains why I believe that all students should have access to drama as a subject in schools, taught by specialist trained drama teachers with qualified teacher status. Drama is a distinct art form and should have its own subject status, separate from that of English, in both primary and secondary schools. If drama is to be engaged in before GCSE level, that requires trained and qualified drama teachers in secondary schools, and in primary schools it requires high quality in-service drama training as a minimum.

Currently there is a significant and deepening inequality of drama provision in schools, and some schools provide none. There should be equality of national curriculum status for at least the five main art forms in schools: art and design, music, dance, drama, and film. The Department for Education has never given any reason why the different art forms are given differential status and attention. It is vital that we be told why it has that opinion, because it affects not only us but generations to come.

Children and young people can now go through education and receive no direct or specialist drama teaching at all. There is a real concern that drama could get parcelled out as “vocational”, to the financial benefit of theatres. We could see only children whose parents can afford it being able to study and engage in drama and the creative arts. That is why my right honourable friend Harriet Harman has said so often that creative and cultural learning supports attainment in all subjects, including literacy and maths. Research has shown that taking part in arts activities at school can make up for an early disadvantage in terms of likelihood to progress to further education as well as in employment outcomes.

I say with due respect to the Minister that I believe the Government are going in the wrong direction on art and culture, and the arts are in danger of becoming more remote from children from working-class backgrounds, such as me, and children in disadvantaged communities, as well as remote from young people in our regions. The whole government narrative around the English baccalaureate, as the noble Earl has said, which the arts community fought so valiantly against, sent a damaging signal to downgrade the arts in education. The number of children sitting arts GCSEs is declining—music is down 9%, drama is down 13% and film is excluded from the curriculum altogether. Teacher training places in arts education have been cut by 35% and the number of specialist arts teachers has fallen. This makes no sense in terms of the creative industries and the arts. It makes no sense in wider educational terms.

We do not want the children being educated now to live in silos. We want them to imagine and to connect. We want them to imagine that there are other ways and other approaches. In the end, it is art that defines us as human beings. Therefore, we underinvest in these subjects, and in this generation and future generations, at our cultural, moral and economic peril.