Education System (Dance)

Gordon Banks 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.