Education System (Dance)

Frank Doran Excerpts

Tuesday 11th October 2011 Westminster Hall

[Mr Frank Doran (Aberdeen North) (Lab)]

There are few opportunities in the House to debate dance and I am delighted to have secured a debate on such an important topic. I have had a lifelong interest in dance, although only as an audience member. My right hon. Friend the Member for Manchester, Gorton (Sir Gerald Kaufman) and I formed the all-party group on dance some years ago, to support the dance industry.

The UK education system is a world leader in defining dance as a subject for study: its history, genres, choreography, aesthetics, politics and relationship to other art forms. In most schools it is taught within physical education, but it is unique because it develops both artistic and physical skills. Dance has an important role to play in getting young people physically active. It appeals to a large number of young people as an activity, including those who do not enjoy competitive sports and who therefore try to avoid PE in schools.

The Youth Sport Trust audit of dance in English schools and the audit carried out by school dance co-ordinators of the schools in their areas show a high number of schools providing dance in England and Wales. Nearly all—90%—of secondary schools provide dance of some form in the curriculum. Even very young children understand the power of dance to express what we think and how we feel. Studies have shown that dance can make a huge difference to a child’s overall performance at school, as well as developing skills to help them to communicate better, work as a team member, analyse further and imagine more. A physical education, school sport and club links scheme survey shows that in England dance is second only to football as the most popular physical activity for young people. The “Dance in Scotland” report published by the Federation of Scottish Theatre in August 2011 states that more people in Scotland dance than play football. That may have something to do with my country’s inability to qualify for international tournaments.

Participation in dance activity in schools is positive, because dance encourages young people to take part in and sustain physical activity—even those of us who do not enjoy competitive sport. That can help to tackle issues of obesity and other health problems. Dance has particular appeal to people who may not readily engage with traditional competitive sports, such as young women and some cultural and ethnic groups. Dance is the most popular PE activity for girls. As most girls stop doing any physical activity after the age of 18, dance offers the greatest chance to engage women in lifelong fitness. Identifying exceptionally talented young dancers at school will help to develop a highly skilled workforce, from diverse backgrounds, supplying the UK’s world-renowned performing arts industry, which contributes more than £3.5 billion annually to the British economy.

The work done in schools is supplemented by dance organisations across the country. Youth Dance England is the national organisation that champions excellence in dance for and with young people. In a recently published report on its performance over the past three years, YDE was shown to have made a remarkable impact on young people’s dance across the country. It worked in a unique way with nine leading dance and arts organisations, based in each region of England, to create the first national network to support the local delivery of dance to young people. That was assessed to be an inexpensive and efficient model, which other art forms were encouraged to adopt. Over three years, with a public investment of £5.5 million—that equated to 58p per school-aged child in England—390,425 young people participated in programmes at national and regional level. I am sorry to be so precise, but the figures are important. There were 1,889 performances and 376,133 people attended them; 15% of English schools took part in U.Dance, a programme to increase the number of dance performances. In comparison, over the same period, investment in music education was £38 per school-aged child.

Most of our dance companies do outreach work in schools. Internationally known organisations such as the Royal Ballet, English National Ballet, Birmingham Royal Ballet, Ballet Rambert and many others reach thousands of school children every year, bringing a professional insight to the education system and encouraging, supporting and raising the sights of countless students. For most students, dance is an activity that they will enjoy and benefit from. Others see dance as a career. That used to be difficult, but the Dance and Drama Awards scheme, introduced in 1999, has opened up possibilities for many more young people. Those awards offer annual scholarships to exceptionally talented performing arts students studying at some of the country’s leading providers of vocational training in dance, drama, musical theatre and technical theatre.

DaDAs offer reduced tuition fees and assistance with living expenses for a two or three-year course and are funded by the Government through the Young People’s Learning Agency. The performing arts industry contributes more than £3.5 billion annually to the British economy, and students graduating from DaDA-funded courses comprise a high percentage of all new entrants to the British performing arts industry.

[Gordon Banks (Ochil and South Perthshire) (Lab)]

I should perhaps mention that my son is a professional dancer, although he did not qualify for a DaDA. Does my hon. Friend have worries about the longevity and the effect, if DaDAs are not there in the years to come, on people moving into professional dance?

[Mr Doran]

That is a worry, but we welcomed the continuation of the scheme by the Government last year. We know that it is under review, and hope that it will continue. That is one point that I wanted to make. When the scheme was continued, that reinforced the view that investment in dance is money well spent. The quality and depth of talent in the British entertainment industry in every discipline is the envy of the world. The economic benefits are clear, and the reputational benefits to the country are immense. Economic and cultural priorities make it imperative that the cost-effective benefits of DaDAs should be maintained and should remain in line with new funding arrangements for higher and further education, which come into effect in 2012.

Those are the positives, and they are very significant. Dance is an activity that has benefits across a very wide spectrum. For every age group it has health benefits. It encourages people who might otherwise be shy of engaging in exercise or sports to take exercise. It teaches children discipline and how to work in a team. It raises their self-esteem and improves their confidence and motivation. At the top end, professional dancers help to contribute to the growing reputation of the British entertainment industry and its massive contribution to the economy, as well as to our image as a country in the rest of the world. In particular in the London area, but throughout the country, there has been an explosion in the number of musicals: I treat my right hon. Friend the Member for Manchester, Gorton as the world expert on those matters.

However, there are also negatives. Recently, the Minister for Universities and Science made remarks suggesting that dance and other subjects were soft options for university entrance and should not be treated on the same level as other more serious subjects. Those comments echoed remarks made by the Secretary of State for Education in opposition and in government, and they are, to say the least, troubling, particularly to a dance industry that has worked incredibly hard to get to the position it is in today. The view of Ministers is misguided and shows a lack of understanding of the benefits of dance and dance training. It seems to me that behind those comments is a very old-fashioned view of what subjects are suitable for academic study—that there are serious subjects that are worthy of study and support, and others that are seen as soft, easy and not to be taken seriously. I do not think that the Government should put dance in that category—if any discipline should be in it at all.

With the help of Dance UK, the industry body that has been central to much of the progress made in the industry in the past few years, I gathered a range of comments on those ministerial views. Most showed the reaction that might be expected when hard-working professionals feel that the work they do and their students’ aspirations are being undermined or not taken seriously. However, the comments that I think best express the reaction of dance professionals came from Andrea Martin, head of dance at the College of Richard Collyer, Horsham:

“Mr Gove’s comments are essentially insulting to both teachers of A-level dance and the young people who study it. I teach students who are taking four and sometimes five A levels, including subjects such as English, maths, further maths, biology, chemistry, law, history etc. Without exception, I am told by my students that dance is one of the most challenging, if not the most challenging, of their subjects. It demands creativity, physical discipline and academic rigour. The multi-faceted nature of the A-level dance course necessitates the development of vital life skills—time management, collaborative working, problem solving and critical thinking. The A2 dance written exam is a two-hour paper requiring students to write three essays using skills of critical analysis, historical contextualisation and knowledge of human anatomy and physiology.”

She asks a valid question:

“A soft option?”

It clearly is not a soft option, and it is important that Ministers pay more attention to dance and try to get some direct hands-on experience.

[Gordon Banks]

There is academic content not only in A-level dance, but in higher education training and degree courses in dance. That content does not stop once someone leaves school. If someone goes into professional dance training, there is an academic responsibility. I hope that my hon. Friend thinks that the Minister should take account of that as well.

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[Mr Doran]

My hon. Friend is absolutely right. Two key elements of dance—we see them not just in performances or the way dance is tutored in school; there are many areas where they are crucial—are discipline and teamwork. The Home Office has been looking at dance as a way to help to reform the behaviour of prisoners, for example. Many children with severe learning difficulties or other problems are going into dance courses. Learning about teamwork and discipline is extremely important.

The Secretary of State and I were educated in the same education system, in Scotland. In fact, the school that he went to is in my constituency. I knew him well before he became the Secretary of State—even before he wrote for The Times. He knows that one strength of that system, and it has been for centuries, is the belief that every child should be given the broadest possible education, covering the humanities, technical subjects and the arts. In the Scottish system, children study a much wider range of subjects, but not to the same depth as in the A-level system in England. That comes later, at university. The aims are to avoid too narrow an education and to produce a more rounded adult. What we all want to see produced by our education system is those rounded citizens: people who have knowledge and skills, rigour and discipline, and the ability to think creatively instilled in them, and who have the flexibility to cope with changes in the modern workplace.

Dance is not a soft option for students. Studying dance can provide a child with substantial personal assets, which will prepare that child for his or her future in a complex world. I hope that the Secretary of State, the Minister and the Minister for Universities and Science will put aside their preconceptions about dance and take the trouble to see for themselves how dance training operates and what it achieves, and the progress that children, including many with difficulties, can make.

I can recommend one local authority that would be worth a visit: the London borough of Havering, where the Conservative-controlled council has initiated a programme of dance across all its schools and is reaping tremendous benefits as a result. That excellent example is worth examining. Ministers will find that dance is not a soft option, but rather a key element in training any child for adulthood.

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[Mr Gibb]

The hon. Lady makes a good point, and I do not disagree with anything that she has said. At the moment, about 2.5% of the cohort are taking GCSE dance. I do not see why those figures will not continue, even with the popularity of the E-bac as a concept. I do not believe that the introduction of the new performance measure will have dire consequences for those selecting dance GCSE, any more than it will for those choosing other subjects that are not included in the E-bac combination.

When young people choose their GCSE subjects at key stage 4, it is important that they base their choices on what they need to progress. We recognise the wider benefits that studying subjects such as dance can bring. All pupils should be encouraged to study non-E-bac subjects alongside the core English baccalaureate to benefit from a well-rounded education.

To encourage talented young dancers, I am pleased to say that the Government maintain their support for low-income families through the music and dance scheme. The scheme represents the top of the pyramid for performing arts education and training and is the Government’s main vehicle for funding the training needs of exceptionally talented young dancers and musicians. Although small—the scheme is funded at £29.5 million this year—the scheme, its beneficiaries, its participating organisations and its patrons have a significant impact on the performing arts world. Although we have not made a formal evaluation, we know that MDS-aided pupils go on to become leading members of their profession in ballet and dance companies at home and abroad, some as soloists with international recognition and renown, such as prima ballerinas Darcey Bussell and Lauren Cuthbertson. Royal Ballet School students regularly win major competitions such as young British dancer of the year and the Lausanne international ballet competition in Switzerland.

In September, when I visited White Lodge, the Royal Ballet school, I could see that the standard of our young dancers is world class.

[Mr Doran]

Before the Minister finishes his speech, I would be grateful if he addressed the main thrust of my contribution: why do the Secretary of State and the Minister for Universities and Science suggest that the status of a dance A-level will not be the same as other A-levels? Why do they suggest that it should be downgraded and seen as a soft subject when it comes to university admission?

[Mr Gibb]

As I have heard the Secretary of State and the Minister for Universities and Science say on numerous occasions, it depends what the young person intends to study and what they want to go on to do. The tragedy is that there are young people who wish to go to a university to study a particular subject, but they have the wrong combination of subjects to help them to obtain a place at that university to study that subject. That is what the Minister is seeking to address. He wants to ensure that young people have the right advice on the right combination of subjects. That was alluded to not only by the Minister, but by organisations such as the Sutton Trust, which is concerned that too many able children from poorer backgrounds are choosing the wrong combination of A-levels, thus narrowing their range of options for universities and beyond.

[Mr Doran]

That sounds like the Minister is suggesting a disincentive to study dance.

[Mr Gibb]

A dance A-level may well be right, and probably is right, for students who wish to take an arts-related subject at university, but it could be wrong for someone who wishes to study a science at university. Two science A-levels and dance may not be the right combination for many universities offering science degrees. There are examples of young people taking the wrong combination to enhance their chances of getting on those competitive courses.

We remain committed to supporting talented young people and adults in accessing specialist dance and drama provision, with national grants also being available for out-of-school-hours training through 21 designated centres for advanced training.