EBacc: Expressive Arts Subjects

Tristram Hunt Excerpts

Monday 4th July 2016 Westminster Hall

[Catherine McKinnell]

My right hon. Friend makes a key point, which a number of people have put to me in strong terms; he puts it very well. I do know how hard it is to pass those subjects, partly from personal experience and that of people close to me, but partly from the people, including teachers, I spoke to ahead the debate. Frankly, they feel insulted by the tone of the Government’s proposals.

We are all aware that the education sector is going through a period of significant and seemingly never-ending change and reform, of which the EBacc is a part. It was initially planned as a formal certificate, but that idea was dropped. It was first applied by the coalition Government in 2010 as a

“headline measure of secondary school performance”.

It judges all schools according to the number of pupils who have achieved grades A* to C across English language and literature, maths, double science, history or geography and a language—subjects that, when studied at A-level, are defined by the Russell Group of universities as “facilitating”. In other words, they are the A-levels most commonly required for entry to the UK’s leading universities, which are attended by 11% of young people.

Following a consultation in November 2015, the Government now want at least 90% of students in mainstream secondary schools to be entered for the EBacc by 2020, thereby taking up at least seven of those students’ GCSE options. The Bacc for the Future campaign has raised concerns that, given that the average number of full GCSEs taken by pupils is 8.1,

“a compulsory EBacc will leave little, if any, room for rigorous, challenging creative subjects which have been approved by the Government’s own Wolf Review of vocational education.”

Nobody doubts the importance of young people’s gaining a solid foundation in English, maths and science; that is why those subjects have always been compulsory. However, the petition objects to the exclusion from the EBacc all creative, artistic and technical subjects, which sends a clear message to young people, parents, teachers, school leaders and society at large about the value that the Government place on subjects that help to create expressive, communicative, self-confident and well rounded human beings. For many young people, those may be the only subjects at which they excel.

[Tristram Hunt (Stoke-on-Trent Central) (Lab)]

My hon. Friend is making a superb speech. Is it not ironic that what we need for the economy of the future and the digital revolution of the future is the breaking down of rather traditional arts and science silos? Creative subjects provide exactly the kind of skills and training that will let young people succeed. We would be mad to strip those subjects out of our education system, not least because we are rather good at them.

[Catherine McKinnell]

My hon. Friend makes a valid and important point.

The question that has been asked over and over again is: why? I hope the Minister will answer that question today. Why would the Government want to limit opportunities to study subjects such as design and technology? The Edge Foundation commented during last week’s EBacc Twitter debate:

“D&T teaches young people how things are designed, developed, made and improved”.

As the National Society for Education in Art and Design succinctly put it,

“In life ‘knowing how’ is just as important as ‘knowing that’.”

I am quite sure that the Minister will pledge in his response that the Government have no intention of restricting access to these subjects. Indeed, in the culture White Paper, the Education Secretary declared that

“Access to cultural education is a matter of social justice.”

However, warm words are simply not enough. What does the Minister really think will be the result of forcing all schools, which are already hard-pressed, to enter 90% of their pupils for the EBacc? A headteacher and member of the organisation SCHOOLS NorthEast has commented that the EBacc creates a “false hierarchy of subjects”. The National Association of Head Teachers has remarked:

“Given the pressures created by the Ebacc, there will be precious little time left for subjects outside the core.”

--- Later in debate ---

[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.