Education System (Dance)

Pat Glass Excerpts

Tuesday 11th October 2011 Westminster Hall

[The Minister of State, Department for Education (Mr Nick Gibb)]

I begin by congratulating the hon. Member for Aberdeen North (Mr Doran) on securing this important debate. I know that he is a strong advocate for dance and for the promotion of dance for its health and social benefits and educational value. He pointed to the creativity and physical discipline involved in learning to dance, and, for some dancers, teamwork.

Dance is important to the cultural life of a country, and it is enjoyed by performers and audiences alike, be it classical, traditional or contemporary. Dance has something to offer to people of all ages, and if the popularity of “Strictly Come Dancing” is anything to go by, it is never too late to learn to dance. I just wish that my right hon. Friend the Member for Twickenham (Vince Cable), or indeed the former Member for Maidstone and The Weald, Ann Widdecombe, were here today; they could certainly contribute to the debate. It is also never too early to start to dance. Young children have a natural instinct for movement to music, and that should be encouraged along their path to adulthood. The hon. Member for Aberdeen North also alluded to that in his opening remarks.

The Government believe that every child should experience a wide variety of high-quality cultural experiences, including dance. In April, we commissioned an independent review of cultural education led by Darren Henley, managing director of Classic FM, who also led the review of music education. Mr Henley will be reporting on how we can realise the ambition of giving high-quality cultural experiences to our children while ensuring the best use of public money. That will include experiences within and outside the school day. I know that the main cultural groups have not only responded to the call for evidence, but taken the opportunity to meet Darren Henley to contribute to the review. His report and our response to it will be published later in the autumn. Dance has an important place in schools and I am confident that that will continue.

[Pat Glass (North West Durham) (Lab)]

Does the Minister accept that by introducing the English Baccalaureate, which introduces a hierarchy of subjects and excludes subjects such as dance and drama, and by cutting quotas for drama teachers for universities such as Durham, the Government are placing dance and drama in a serious situation for the future?

[Mr Gibb]

I do not accept that argument. I will come to talk about the English Baccalaureate in a moment. The E-bac has always been kept at a small enough range of important, facilitating subjects to allow scope within the school curriculum timetable for students to take a wider range of subjects, such as vocational ones, music, art and economics.

We know from previous surveys that dance remains the second most popular activity, after football, among young people. However, something that interested me, and probably many other people, was the statistic about Scotland that the hon. Member for Aberdeen North mentioned. Perhaps it is the prevalence of Scottish dancing that is the key there. It is true also that 97% of all schools provide dancing activity. The popularity of dance is not limited to primary schools, where dance is a compulsory element of the current PE national curriculum; it is also a feature of secondary school education, where it is optional.

As we set out in our White Paper “The Importance of Teaching”, we are embarking on a new era of freedom for schools—freedom from unnecessary bureaucracy and from an overly prescriptive national curriculum. The review of the national curriculum was launched in January and is being conducted in two phases. Phase 1 will focus on the overall shape and nature of the new national curriculum and will also consider new programmes of study for English, mathematics, the sciences and physical education. Those subjects will continue to be compulsory in all four key stages. The programmes of study will be finalised in autumn 2012, with first teaching in schools from September 2013.

Central to the Government’s educational philosophy is the view that not all that is good must be centrally mandated or managed. We believe that the new curriculum will allow schools greater freedom to teach beyond what children should be expected to know in core subjects. We are looking to create more room for excellent innovative teaching and curriculum design. We want more time available for teaching in areas such as dance, and the ability to create a broad and balanced school curriculum to meet pupils’ needs.

The hon. Member for North West Durham (Pat Glass) raised the issue of the English baccalaureate and her unease that dance is not included within its subjects. Although the English baccalaureate will give pupils the opportunity to study a core of academic subjects, it does not mean that we wish to restrict their choices or opportunities for wider study and the core of subjects is small enough to allow for that. We know that study in other subjects will be just as valuable to pupils, depending on what they go on to do after 16.

--- Later in debate ---

[Mr Gibb]

The hon. Gentleman raises a good point. If we go through the English baccalaureate subjects—English, maths, science, one of the two humanities and a modern foreign language—all of them, apart from a modern foreign language and a humanity, are already compulsory to 16. We are talking about two GCSEs: history or geography, and a modern foreign language. Modern foreign languages were compulsory until 2004, and there is a body of opinion that says that they should be made compulsory again. The debate is about history and geography, and there has been a significant decline in those subjects over recent years, which is a cause for concern. None the less, if we add up all those GCSE subjects and add on a humanity, it is still small enough for pupils to study one, two or three more GCSEs beyond those core academic subjects, depending on which combination of those subjects they take. That is right because the Russell group universities and others say that those subjects are the facilitating subjects that keep options open for young people to make decisions about their career choices later in life. International evidence has shown that countries around the world in high-performing jurisdictions are delaying young people from making decisions over career choices. They keep options open for longer so that young people can make the right choices.

[Pat Glass]

Clearly, if the Minister and the people around him feel that that is possible within key stage 4, they have never put together such a timetable. Moving back to dance, is the Minister aware that the highest increase in dance, movement and drama is among disaffected young girls who have a history of non-attendance? Given the Government’s view about the importance of behaviour and attendance, surely there is a good argument for including dance and drama at key stage 4 as a core subject.

[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.