Schools: Arts Education

Baroness Warnock Excerpts

Thursday 27th November 2014 Lords Chamber

[Baroness Warnock (CB)]

My Lords, I join in thanking my noble friend for introducing this debate. I also join in congratulating our youngest Member on her maiden speech. We hope to hear much more from her, especially on the subject of teaching and the freedom that teachers in free schools may have to adapt and improve the balance that they can introduce into their schools.

I was also deeply moved by the speech of the noble Lord, Lord Cashman. He took the subject that I was going to talk about briefly this evening. We have had many debates on arts education in the House. I normally find myself talking about music education, in which I have been involved since the golden age of instrumental teaching in the late 1950s and 1960s. I have continued to feel very strongly about the kind of opportunities that ought to be given to children and were given to them when the noble Lord, Lord Maclennan, first picked up his violin from under his desk.

Today I want to say something about teaching the visual arts, although I feel rather ashamed of speaking in such an amateurish way, after hearing the extremely professional speeches of my noble friend Lady Kidron and the noble Baroness, Lady Nye. I pick on the visual arts simply because I think that, if a parent has a child who is enthusiastic and talented musically, it is usually possible, if you have the money, to find very good teaching outside school, even very good choirs and orchestras on Saturday mornings to fill the gaps that perhaps the school is not doing anything to fill.

In the case of the visual arts, it is very difficult to find any parallel way of getting your child taught art. In fact, you probably do not think of doing such a thing. I therefore believe that schools have an overwhelming responsibility for teaching children in the visual arts from a very early age. This is not only a matter of allowing children to have the fun and experience of self-expression. Some children do not particularly enjoy expressing themselves through the visual arts. However, a good teacher of art teaches children to look; to see things that they probably would not look at or see otherwise. A lot of us—grown-ups as well as children—scurry along the street or tear down the motorway without looking at what we are passing as we go. The talent of looking and seeing needs to be followed up with being taught—it needs teaching—the skill of representation, which is a very natural human instinct, as we know. Thousands of years ago, human beings were representing what they saw on the walls of caves and so on.

If children are not taught to see and properly look at things in school, they are being deprived of something that is almost like a new sense of what the world is like, what their place in it is, and how they can contribute to the things that people want to look at. Of course, this is not just a matter of teaching children to draw or to paint, although these skills are crucial, as any practising artist will tell you. You must be able to draw before you can do anything. It is also a matter of seeing what is a good design and what is a bad design. It does not matter whether the object is a chair, a building, a window or a cushion cover. The ability to look and to discriminate between something that is worth doing and something that is rubbish needs to start at a very early age and to be taught in school, because it will not be taught outside school. The failure of maintained schools to keep up this tradition of teaching art as an integral part of the curriculum is socially undesirable, if not disastrous.

Every Government has been in danger of this, and the present moment, with the utterances of the current Secretary of State, is a particularly good one to raise this point. Successive Governments have tended to take the attitude towards art teaching that Sir Keith Joseph once referred to as the “leather blotter view” of the arts. That is, a leather blotter may be an agreeable thing to be given, and you put it on your desk, but it is totally dispensable. Everybody can live without a leather blotter. That attitude is certainly exemplified in what we have most recently heard from the department, which I find incredibly depressing.

Therefore, let us, and the Government, give up that view. Otherwise, I fear that what will happen, which is happening increasingly, is that students who enter architectural schools and design colleges, join a national youth orchestra and maybe go on to become professional instrumentalists—all these people who enter the artistic world, which includes the world of design—will come from middle-class or relatively affluent families. That is not only grossly unfair to all the talent there is in children from disadvantaged backgrounds, but is the most appalling waste of talent. We have only to think of people such as the noble Lord, Lord Cashman, and David Hockney to realise that there is no class distinction in talent in the arts. We waste one of our greatest assets as a country if we fail to allow the disadvantaged end of the school population to benefit from the kind of teaching they ought to have. That is especially true in the case of the visual arts because, as I say, it is very difficult for any parent, however enthusiastic, to substitute for the teaching of the visual arts skills that their child ought to be getting at school.