EBacc: Expressive Arts Subjects

Kerry McCarthy Excerpts

Monday 4th July 2016 Westminster Hall

[Fiona Mactaggart]

My point is not that young people should study these creative subjects instead of the EBacc, but that they should be part of the mandatory experience of young people, which is the case at Eton. Eton has brilliant drama, music and art education. The facilities are extraordinarily wonderful.

[Kerry McCarthy (Bristol East) (Lab)]

Is it not likely that the sort of people who go to Eton and other public schools have the sort of cultural background whereby they get taken to the theatre, they have books at home and they are exposed to classical music? That is precisely the point; that is why it is so much more important to teach these subjects in the sort of schools that I have in my constituency, where people do not have that advantage.

[Fiona Mactaggart]

Absolutely. Actually, the previous theatre teacher at Eton said:

“For me the importance the work has here in the boys’ lives is the reason they do such good work afterwards. That importance arises from many things. One is that we don’t do drama just for its educational value. We do a play as a work of art, to be explored at its fullest.”

It is rare for children to have that experience of creating, of making a work of art. They can do it if they learn these expressive subjects. The problem is that this Government view them as an optional add-on. When I asked the Prime Minister about this issue and referred to his experience at Eton, he said:

“It is essential that we get more children learning the basic subjects and getting the basic qualifications. It is then more possible to put in place the arts, the dance and the drama that I want my children to enjoy when they go to their schools.”—[Official Report, 4 November 2015; Vol. 601, c. 962.]

I do not see it as a question of the basics and then these frilly add-ons. In my judgment, these subjects are as basic as every other subject in the EBacc. That is why so many people have signed this petition. It is not saying, “Get rid of the EBacc.” It is saying, “Include expressive subjects in every child’s education, because if you fail to do that, you are letting them down.”

--- Later in debate ---

[Kerry McCarthy (Bristol East) (Lab)]

I think this is the first time that I have spoken under your chairmanship, Ms Buck. It is a pleasure to do so.

There have been some excellent speeches so far, and I agree with everyone who has made the case for the importance of arts education and for the need for us to continue to value that education. The narrowing of focus about what constitutes a valid qualification concerns me across the board. Obviously, we are here today to discuss arts education, but we have also seen, for example, life and environmental sciences being scrapped at GCSE and A-level. That seems nonsensical to me, because the best way of getting children interested in science is to link it to their natural environment, to issues such as climate change, and to what they see all around them.

As we have heard, participation in creative subjects and gaining a qualification in them are immensely rewarding for pupils, particularly those pupils who struggle to excel academically. I was talking to a number of senior educationalists at the weekend; we are fortunate in Bristol that several of our new councillors have a background in education in cities such as Bristol and Leicester, which have high levels of deprivation and much ethnic diversity. They could not stress enough how important arts subjects are for some pupils who will never be very good at English, maths or other traditional subjects; the arts get those pupils through the doors of schools. Headteachers have said that to me as well.

[Mr Christopher Chope in the Chair]

The fact is that all the secondary schools in my constituency were rebuilt under the last Labour Government, through the Building Schools for the Future programme, so they have music studios, art rooms and sprung dancefloors that the children can use not only during school hours but after school as well. The arts get children through the door of the school, and if that means they then enjoy the school experience, feel more confident and make friends with other pupils, they are much more likely to thrive in the academic subjects as well.

[Catherine McKinnell]

My hon. Friend makes a valid point. It reminds me of when I attended a local school’s opening of its sport centre to the community. Alan Shearer, who was a former pupil, spoke passionately about the difference that having sport—football in particular—available at school made to him, and how that was the only reason he went to school. He got his maths, and he got his English, but it was a sport that brought him through the door. The arts too can be a driver for young people to come to school and enjoy the experience.

[Kerry McCarthy]

Absolutely, and that is certainly the case with sports in Bristol’s schools as well. Some Conservative Members for neighbouring constituencies are keen on the idea that we take education more seriously, that we should all learn Latin and history—a few years ago one of them wrote about “joke GCSEs”. In a city like Bristol, where 40% of the jobs are in the creative sector, it is a running joke that if you do a Mickey Mouse degree you end up with a job at Aardman and win an Oscar. That is certainly not something we should sneer at.

We also have the BBC’s natural history unit, which combines learning about natural history and the life and environmental sciences with learning the sort of skills that could lead to someone being one of the amazing cameramen who manage to film things that no one has ever caught on film before. Studying these subjects is not something that people do just for their self-fulfilment, although it is important on that front; it is very much part of getting a job and thriving when they leave school.

MPs have been sent a useful briefing by an organisation called MillionPlus for Thursday’s Backbench Business debate on creative industries and the economy—we seem to have several debates about the creative sector this week. The briefing focuses on the role of universities in supporting the creative sector, pointing out, as has been said, that the sector is worth £84.1 billion to the UK economy and is one of its fastest growing areas, providing 2.8 million jobs. MillionPlus says that 70% of people in creative occupations are university educated, but that numbers

“studying many creative subjects at school and university are falling and the talent pool will inevitably decrease”.

It points to the potential sidelining of creative subjects in schools and expresses concern about the narrative that has built up that STEM subjects are somehow far more worthwhile than creative ones. Of course STEM subjects are important, of course our future economic growth depends on people wanting to go into those sectors as well, but one set of subjects should not exclude the other.

MillionPlus’s concern is that with the Department for Education promoting certain “facilitating” subjects that focus on STEM and not on creative courses at GCSE and A-level, as well as the introduction in 2016-17 of the new performance measures based on the eight key subjects, there is a risk that more and more schools will design their curriculums in a way that marginalises creative subjects, as many speakers have already mentioned. We cannot really blame schools if they feel compelled to go down that path. If they are going to be judged on key areas, they do not want to risk being left behind when compared with other schools.

I asked people earlier today on social media if they had any comments on the matter, and one of my constituents got in touch to say that her son was forced to drop all but one arts subject for year 10 because of the league tables for EBacc. She felt that that had very much held him back.

I want to mention two specific areas—I do not want to go over the ground that has already been covered. On music in schools, there is a lot of anecdotal evidence that suggests that in some areas fewer than 20% of schools offer music beyond key stage 3 and fewer than 5% offer it at sixth form. There was a meeting of all-party parliamentary groups last week, which I think the hon. Member for Somerton and Frome (David Warburton), a relatively near neighbour of mine, attended. I could not attend, but my researcher went along. The case was cited at that meeting of a west London borough where out of 15 state-funded schools with secondary age pupils all but one was rated good or outstanding but only six offered music post-key stage 3 and only two offered it post-key stage 4. Just last week, the music hub there learned that two of the secondary schools, both of which are academies, will offer no music at all from year 7, which is a sad state of affairs.

A representative from the music hub said that the impact of the EBacc changes is that music teachers are being used as flexible cover or are leaving and not being replaced, and that the result will be that music drops out of schools completely. That is also something that people involved in music education in Bristol have said to me—that with that casualisation of the profession we will end up losing the skills pool, because people simply cannot make a living from being brought in for the occasional lesson. The music hub representative at the meeting said that that means

“no music for prize day, school fairs, community events; no school musicals/Christmas concerts. What a joyless experience for our pupils, particularly when we remember that for many music is the only thing that will engage them and develop positive attitudes towards learning.”

Is it not rather disingenuous of the Government to say that music is a compulsory subject for five to 14-year-olds when academies do not have to follow the curriculum? How can the Minister provide real reassurance that music will not drop out of some schools entirely? I look forward to hearing from him on that point.

My last point is about social diversity in the arts, which we have already touched on. The actor Ralf Little, of “The Royle Family” fame, was reported in the papers today as saying that Caroline Aherne, who died at the weekend, showed

“that working-class people can be on TV, being ourselves”,

but that her death

“is a reminder how much she and her writing were, and still are, the exception.”

Julie Walters has said previously that she would not have a chance of making it as a working-class actor if she was starting out today, and there is an ongoing debate about why so many of the up-and-coming names on our stage and screen seem to have been educated at public schools. Last year, 92.1% of jobs in the creative industries were being done by people in the more advantaged socioeconomic groups, a figure that is up 20% since 2011. The well known actor James McAvoy has warned:

“I do care about a government that doesn’t prioritise arts in education. It is one of the first things that if you take it away, it’s a signal that the government doesn’t care about upward mobility any more. Art is one the first things you take away from society if you want to keep them down.”

Given how difficult it is for anyone from a normal background to break into acting these days, is the Minister concerned about the impact the changes might have on social mobility? Factors to consider are the enormous fees for drama and art schools, the need for financial support during the phase when someone is not sure whether they will break through and become a professional, the prevalence of unpaid internship, the effects of arts cuts on outreach programmes, and the increasing prevalence of low pay and no pay in the entertainment industries. I know that the previous Secretary of State for Culture, Media and Sport was very concerned about the need to increase diversity in the arts—I went with a delegation from Equity to meet him when I was chair of the all-party Performers’ Alliance group. It seems, however, that all the work he was looking to do on increasing diversity, which I hope his successor is now taking up, could be jeopardised if we do not get it right at school level.