EBacc: Expressive Arts Subjects

David Warburton Excerpts

Monday 4th July 2016 Westminster Hall

[David Warburton (Somerton and Frome) (Con)]

I congratulate the hon. Member for Newcastle upon Tyne North (Catherine McKinnell) on her very powerful and meaningful speech. It is a great pleasure to serve under your chairmanship, Ms Buck, and to have the opportunity to speak on a subject that is very important to me.

I should start by declaring a bit of an interest. I am lucky enough to come from an arts background, having studied at the Royal College of Music for five years. As a former composer and musician, then a school teacher, and now vice-chair of the all-party group on music and chair of the all-party group for music education, I am extremely worried by the fivefold decline in the uptake of arts subjects at GCSE over the past year.

I share the belief often emphasised by the Minister for Schools, my hon. Friend the Member for Bognor Regis and Littlehampton (Mr Gibb), that academic rigour is essential for social justice—that academic learning and social justice are complementary—but it is important that this does not become a false debate with high academic achievement in core subjects on the one hand and championing of the arts on the other. Both are possible, and indeed both are necessary. Social justice and opportunity must be at the heart of our vision for education and the arts.

With the introduction of the EBacc, as we have heard, schools with a high proportion of free school meals have been more than twice as likely to withdraw arts subjects. That will only exacerbate an already yawning gap between the 50% of students at fee-paying schools who get music tuition and the 15% in state schools. Richard Morris of the Mayor’s Music Fund rightly described this as

“perhaps the greatest single distinction in any aspect of independent/state educational provision.”

I am sure that Members from both sides of the House would want to see such damaging distinctions come to an end.

[Mr Gibb]

Again, I am listening very carefully but could my hon. Friend cite the proportion of pupils in independent schools who take the EBacc subjects?

[David Warburton]

I am afraid I do not have that figure to hand, although I am sure that the Minister can regale us with it. I am sure that he has it front of him and can come out with it later, and I look forward to that with great interest.

[Tristram Hunt]

The hon. Gentleman is making a very powerful point. Does he agree that for fee-paying schools that enjoy charitable status and do not pay business rates—receiving business rates relief based on it—sharing music facilities and music teachers might be one way to justify that charitable status?

[David Warburton]

I think that sharing music facilities and facilities generally is often a good way forward. That could certainly be considered, but schools need to work individually and to have the right facilities to look after their own pupils without having to look elsewhere—without having to run across the road and make sure that somebody else can help them out.

An EBacc that fails to make room for the arts can only entrench the inequality that I have described. Last week, I chaired a meeting of the all-party group for music education where we heard some very passionate views. We heard about a report from the charity Sound Connections, and Wired4Music, in which young people in London described the transformational impact of music education on their lives and careers. From the report, it is important to highlight the unanimity, strength of feeling and uneasy sense of shrinking opportunities for those in this generation, and succeeding generations, who might otherwise go on to careers in the creative industries.

I have to say, however, that the Government have made significant advances in supporting the arts. We have seen the first culture White Paper for 50 years, the Cultural Citizens Programme and the new heritage action zones. Alongside those headline initiatives, we have seen £15 million-worth of tax breaks for theatres this year and the welcome orchestra tax break, but widening participation in the arts must begin with education.

The debate this afternoon pivots on what a core curriculum is and whether an EBacc without the arts can ever be seen to provide that. The chief executive of the Incorporated Society of Musicians said in a recent speech that this

“Government certainly seems to understand the importance of culture and creativity”.

It is because I believe that to be true that I urge them either to include the arts within the EBacc or to define a more balanced curriculum.

I will not quote figures because we have all heard plenty of those, but in 2014 the creative industries grew at twice the rate of the UK economy as a whole. Governments should play their strongest hand. We lead the world in music and the creative industries, but it is not just the utilitarian argument that is important—the arts are also important in themselves. Of course, this is not easy to prove, or even to quantify, but the broadening effect of the arts is very real.

It is not easy to show that people benefit from exposure to the mechanics of the arts, whether that is an understanding of the beautiful mathematical imperatives in four-part harmony or the experience of seeing Brunelleschi’s dome for the first time, in ways that they can take forward into other aspects of their lives. However, research has been done and a highly comprehensive study by the German Socio-Economic Panel in 2013 said:

“Music improves cognitive and non-cognitive skills more than twice as much as sports”.

In addition, it found that children who take music lessons have

“better school grades and are more conscientious, open and ambitious.”

The study of music strengthens the motor cortex—although obviously not in every case. It improves working memory and long-term memory for visual stimuli. It helps people to manage anxiety and enhances self-confidence, self-esteem and social and personal skills. Studying music improves reading and verbal skills, and helps children to get good marks in exams. It raises IQ, encourages listening and helps children to learn languages more quickly. Some studies have even suggested that it slows the effects of ageing, just as being a Member of this House has precisely the opposite effect.

The moral effect of the arts is also critical. Only through art can we emerge from ourselves and know what another person sees. It is testimony to the unifying moral power of music that both the Taliban and ISIS, or Daesh, have banned it, just as one or two past Popes banned polyphony, then the interval of the tritone, and then excessive musical decoration.

I understand the pressure the Minister is under from all sides to add everything from Esperanto to den-building to the national curriculum. As an ex-teacher, I also understand that more of one subject must mean less of another. However, as the hon. Member for Newcastle upon Tyne North said, warm words butter no parsnips. The Department’s welcome focus on the ways in which education can form character makes it more important than ever that its place at the heart of the curriculum must be protected.

[Michelle Donelan]

Does my hon. Friend accept that adding creative subjects, such as art and music, would open up the options—for religious education, and for sport—and that the EBacc would be diluted more and more until it was dissolved? Is my hon. Friend in favour of the EBacc? I cannot see a way of having the cake and eating it.

[David Warburton]

My hon. Friend makes a good point. We can have a larger EBacc, we can manage our subjects more carefully, we can have an EBacc plus, as has been suggested, or we can have a more pick-and-mix, flexible and balanced approach, which might be more sensible. An EBacc without the arts is unthinkable. A core curriculum without the arts will not raise standards, but will lower them. Plato, 2,500 years ago, thought that music stood with arithmetic and geometry as a cornerstone of education, so who are we to chuck that away?

Depriving schoolchildren of the right to learn the pure language of the arts and music—the nuts and bolts—will deprive them of the right to understand, and depriving them of the right to understand is the unkindest and cruellest deprivation. It will confine them to a shrunken view of the world. I will go further. In so doing, we will reduce ourselves and our collective potential. A civilisation that denies its history and stops nurturing its cultural heritage is a dying civilisation. Civilisations die from self-doubt and dwindling confidence, not from enemy assault. Let us keep ourselves alive, play to our history, culture and strengths, and give everyone the chance to take part in that.

[Several hon. Members rose—]

--- Later in debate ---

[Mr Gibb]

The entries for art and design were 162,000 in 2010-11 and 176,000 in 2014-15—the latest figures that I have. In drama, in 2010-11, there were 74,000 entries; they dropped in 2011 to 70,000 and then 69,000, but they went up to 70,000 and are now 70,800. In media, film and TV, there were 51,000 entries in 2010; they went down to 49,000 and then 48,700, but they went up to 51,000 and are now 51,570. So there is no evidence that the subjects are declining at GCSE.

[David Warburton]

Is it fair to point out that all the figures just given by the Minister are from before the announcement of the new EBacc and the consultation of November 2015, which is what has seen the drop in entries that we are all talking about?

[Mr Gibb]

No. Those figures are a consequence of the EBacc measure, which was taken seriously by schools—we have seen an increase in the EBacc performance measure. That is what we have seen—no fall in the figures. My assertion is that there will be no significant fall in the arts subjects as a consequence of the EBacc figure of 90%. The schools cited during the debate—the ones that have the strongest arts subjects, the choirs and the music GCSEs—are all doing the EBacc subjects right through to GCSE. They are not neglecting the arts. In fact, I assert that the schools that have the strongest arts education are also the ones that get the highest level in the EBacc performance measure.