Category Archives: Arts Education

STEM and the Narrow Curriculum

 

 

 

 

 

 

 

An article in Schools Week reports:

A free school in Newcastle that does not teach humanities, arts or foreign languages has been branded ‘inadequate’ by Ofsted in its first inspection.

The education watchdog singled out the “unacceptable” absence of subjects at Discovery School, which also omits physical education, in its report from an inspection conducted in May.

“The curriculum is failing to meet pupils’ needs and does not prepare them for life in modern Britain,” it said.

The school focuses on: ‘science, technology, engineering and mathematics.’

STEM, an acronym that implies narrowing of the curriculum, is meant to be all about preparing for life in the modern world, a life of robots, 21st century skills and a global market, it is good to see that OfSted believes there is more to life than just these narrow goals. Some would argue this narrow focus is a result of utilitarian thinking.

Jeremy Bentham, the great utilitarian, devised a curriculum for secondary schooling that emphasised science and technology rather than the subjects of Greek and Latin, a curriculum that would be clearly lacking in breadth. John Stuart Mill, a great admirer of his mentor Bentham, described him as being a great thinker but one who lacked the natural feelings that belong in a human being.

As a child Mill was home educated and kept away from other children by his domineering father. He learnt Greek at the age of three and read a lot of Plato, in the original, by the age of twelve. He was never allowed a holiday as the potential of ‘idleness’ worried his father.

His father encouraged John Stuart to think for himself: “Anything which could be found out by thinking I was never told, until I had exhausted my efforts to find it out for myself.” But this education, he thought, turned him into: “…a mere reasoning machine.”

Mill later suffered a mental breakdown and became very depressed. He said that he recovered from this crisis by reading the poems of Wordsworth:

They seemed to be the very culture of the feelings, which I was in quest of. In them I seemed to draw from a source of inward joy, of sympathetic and imaginative pleasure, which could be shared in by all human beings; which had no connection with struggle or imperfection, but would be made richer by every improvement in the physical or social condition of mankind. From them I seemed to learn what would be the perennial sources of happiness, when all the greater evils of life shall have been removed. And I felt myself at once better and happier as I came under the influence. 

Mill moved on to Coleridge and was to describe him and Bentham as ‘the two great seminal minds of England in their age’.

Science and technology should be a central part of the curriculum AND so should poetry, the arts, humanities, languages and physical pursuits. This is the right sort of education for the human being. As Charles Darwin put it:

If I had to live my life again, I would have made a rule to read some poetry & listen to some music at least once every week; for perhaps the parts of my brain now atrophied would thus have been kept active through use. The loss of these tastes is a loss of happiness, & may possibly be injurious to the intellect, & more probably to the moral character, by enfeebling the emotional part of our nature.

Where Ofsted says: “The curriculum is failing to meet pupils’ needs and does not prepare them for life in modern Britain,” they are referring to life beyond the narrow confines of utility and this is to be applauded.

And don’t think that by turning STEM into STEAM you solve this problem. STEAM is a bastardised acronym in which the arts are subsumed into some sort of cross curricular service of commerce, science and/or tech, this is not art, it is subterfuge.

The Problem With Austin’s Butterfly

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Ron Berger’s famous ‘Austin’s Butterfly’ is a great lesson about how redrafting and feedback can help a child create a more accurate ‘scientific’ drawing of a butterfly. In the context of the task picture six is clearly the ‘best’ depiction of the butterfly.

If one removes the context and no longer looks for accuracy and, instead, tries to judge the drawing on its own merits – art for its own sake, which drawings are the ‘best’? I would argue that, artistically, one and four are the ‘best’. How about these three Turner’s, which is ‘the best’?

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In terms of ‘accuracy’ maybe the first one, but the third, of a fire at the Tower of London, in 1841, a watercolour ‘sketch’ has an immediacy of response that might represent a different sort of ‘accuracy’, that of the artist responding to a moment in time in a way that captures something of the event beyond an accurate depiction of it. In fact, for many years, this was thought to be a painting of the fire in 1834 at the Houses of Parliament, does this mean the picture is not as good as it should be? Well, it was only a sketch but it did help Turner in developing his Art. This, from 1844, is a finished work:

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The art teacher has to rely on knowledge and intuition to decide what is ‘best’, sometimes this is not so easy, especially in a lesson where Austin has drawn the best butterfly already in the first five minutes.

Paul McCartney ‘dreamt’ Yesterday, and remembered it the next morning, quickly working out the right chords, but always thinking in the back of his mind that somebody else must have written it and he remembered it because it came to him so easily. Had a teacher overworked the tune with my ‘imaginary Paul as a music pupil’ who had come up with that tune – saying it needs redrafting, it might have ruined the tune. A lesson which has a given amount of time is often too short for work to be completed. Sometimes it is too long. What to do with those minutes if a child has already created a great piece?

Well, Paul, had to work on the lyrics, ‘scrambled eggs’ was not as good as ‘yesterday’…

But arts teachers need to think what happens if a pupil comes up with perfection straight away? I mustn’t ruin it and I need to feed their aesthetic judgement and taste to ‘know’ when good is good. How do we teach a child to ‘know’ when something is good…

And not, merely, accurate?

 

Academic Education For All

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German players seemed to have more to draw on as people than English counterparts; greater all round resources that helped them navigate tournaments and pressure points 

Jonathan Northcroft: interview with Frank Lampard, Sunday Times, May 28th 2017

In our great debates about education: vocational vs grammar, 21st Century skills for the jobs that don’t yet exist vs academic education, something always seems to be missed and that is an academic education is good for all.

As Frank Lampard explains in the interview:

You’ll benefit if you bring through players who are intelligent. The best players in the world are smart and clever on the pitch and you can’t tell me that’s not a well rounded thing.

Lampard, educated at Brentwood Independent school, feels he was fortunate to have had  a good education:

…not just maths and science, but life education – and these are big things that relate on the pitch. You see it how certain players hold themselves…

He sees it as a responsibility for all football clubs to cover – educate the youngsters especially those you pull out of school at 15/16… For those that don’t make it need a good education to fall back on and those that do make it need it to fall back on too. Part of Lampard’s history is his time at West Ham Football Club.

The academy of football set up by Ted Fenton at West Ham as the ‘Cafe Cassettari’ club, where social aspects such as welcoming and providing warm food, were expanded by Malcolm Allison:

…players would exchange views on the game and make tactical plans around the dinner table, illustrating their ideas with the use of salt and pepper pots. The culmination of those years of hard work, on and off the field, was the Second Division championship in 1958 – the springboard to great cup successes at a much higher level in the mid-60s … no one should underestimate the positive influence of Malcolm Allison’s earlier role in Hammers’ history 

West Ham Club History: John Hellier

This idea should be taken further. We should realise the benefit of players and trainees knowing about Shakespeare, Goethe, Germaine Greer, Beethoven, CLR James, Brendan Behan, Gaugin, Virginia Woolf, Boadicea, Euclid, Euripides, St Augustine and Confucius; the poetry of life gives backbone to the poetry on the pitch.

Whether you are an academy of football or an ‘ordinary’ academy or school, an academic education should be for all. We are all children of a sacred olive grove (Hekademia (Ἑκαδήμεια)) dedicated to the Athena, goddess of wisdom, that gave rise to our word academia and to Plato’s famous academy.

And our children should benefit from a life dedicated to Athena too.

Whether they are to be footballers or scientists, leaders or followers, down on their luck or lucky, an academic education will enrich all their lives.

 

Don’t Educate the Working Class

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Not all working-class children want to be middle or upper class.

says Garth Stahl, the author of Identity, Neoliberalism and Aspiration… emphasising that education is about changing people and not everyone wants to change. We are defined by where we are in the rat race and that is where we feel most secure. This fear that education might change people, who they are at their very core, is something that eats away at some people’s fears about schooling. ‘Shakespeare is not for our kids,’ might be the cry of some secure in the knowledge that teaching Macbeth to the oiks might see them rise up to Upper Middle Class rectitude and result in them indulging in dark arts at the golf club or even, God forbid, in the Labour Party.

Stahl might have a point, imagine an education that sets out to change Upper Class people into Working Class toilers… What would the timetable consist of? The school lunch menu would be relatively simple: KFC. The lessons could comprise the subjects of gambling, tabloid reading, beer swilling, football (playing as well as the pride and prejudice), Brexit fear of foreigners and all sorts of other such stereotypical nonsense. How would the Upper Class like that?! Do we really think that the working class are a morass of people who indulge in such behaviours that define who they are and if they are subjected to opera, fine dining and JMW Turner their entire world view is shattered and they are left bereft?

This is the problem with the model of education that purely celebrates identity. Firstly we rely on the idea that there is a broad ‘type’ of people defined by their job, or lack of it, their gender, fluid or not, their race, culture and creed. This is useful for Marxist sociologists, snobs , advertisers and algorithm designers – and, indeed, it becomes ever so sophisticated as we are all seen as ABC1s D2s and CD borderlines… but do we really fear teaching and learning things that are of human value beyond our algorithmic echo chambers? If we want education to worship at the altar of our own identities then we will never learn to look beyond.

Rather than change people education refines our understanding of who we are as human beings, it adds to our knowledge not through social engineering; neither meritocratic or anti- aspirational, a good education should expand the self. If education is about the rat race then rats are the only ones who will benefit. If education is a personalised, Narcissistic look at trying to make ourselves feel better about who we are or have chosen to be then it will never be about who we truly are. We don’t have to change who we are, but in order to find out, we might have to take a broader view than the one we think justifies our personal proclivities. An education in ‘high culture’ is for all, not just a supposed elite. Shakespeare is for everyone, whether they like it or not.

Teachers Should Pass Knowledge On

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To avoid misunderstanding: it seems to me that conservatism, in the sense of conservation, is of the essence of the educational activity

Hannah Arendt

According to the sleeve notes of their new album, Blue and Lonesome, Rolling Stones’ guitarist, Keith Richards, wants written on his gravestone:

He passed it on

The gnarled rockers’ latest album returns to their roots, echoing their first LP, it is a homage, a love story, a dedicated exploration of the blues. With each of the twelve bars and harmonica blow the Stones pass it on and if they hadn’t ever bothered what would our musical culture be like now?

It is not for us, it is not for them, it is for the love of the music itself that they pass it on. From Muddy Waters to Chuck Berry the Stones helped introduce these guys to our shores. Nowadays some may complain about cultural appropriation, I prefer to call it cultural education, conserving and adding to our culture. From the swamps of the Mississippi and Can’t be Satisfied to Satisfaction (I Can’t Get No) and the Thames Estuary, the flow of time and the Hoochie Coochie would bring the bluesmen together, it is the music that they are servants to.

As Hannah Arendt said, education must be conservative, in the sense of conservation and this is an important part of the job. Pass it on, from oral, to written, to online; we have a duty to conserve the things that matter and even some of the things that don’t just in case that, one day, they might.

As Hector says in The History Boys:

Pass the parcel. That’s sometimes all you can do. Take it, feel it and pass it on. Not for me, not for you, but for someone, somewhere, one day. Pass it on, boys. That’s the game I want you to learn. Pass it on.

The late great Alexis Korner the ‘father’ of British Blues said of the time just after the war:

In those days, between the ages of 12 and 18 you meant nothing. You were the extra place at the side table if someone came to dinner. You were too big to be petted or fondled or thought pretty and you were too small to work and you were of no interest to anyone, and you had a chance to learn—this is what’s missed today

In many of the arguments about what to teach many talk about what might be good for the child, what might be useful, accessible, engaging, fewer talk about what might be for the good of the subject itself. Maybe if the ‘needs’ of the child were to become less of a concern, instead of worrying about their destinations and putting their every piece of work under scrutiny, we could rebalance things. Teach what is good for the survival of the subject, one day it might make a difference to someone.

Teach Shakespeare’s plays for the intrinsic gift of the plays themselves. And play the Blues, because of the intrinsic gift of the blues. The chance encounter between Richards and Jagger on platform two at Dartford railway station, found the old school chums brought together by a mutual love of the blues, a band formed with the need to pass that love on, to add to it, and, now, on their latest album back to their roots again as they go full circle back to the tradition.

Teachers pass on the stories of their subjects, not because it is intrinsically good for the child, for the job market or for the betterment of humanity, but because they have to. This is the gift the teacher gives, every day. This is why what you pass on has to be qualitatively superior, as it is for the good of the art, and those arts, in turn, survive because they are the saviour of someone, somewhere, sometime, even though the charges in front of you in a lesson don’t get it, one day a child of a child of a pupil in front of you might, and that’s why you keep going.

Muddy Waters had no idea the satisfaction his music would create for two teenagers in Dartford, but thankfully he just passed it on. Changed it and passed it on.

Arts Education has a “Low Impact”

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If you click on the Education Endowment Foundation (EEF) ‘Teaching and Learning Toolkit’ webpage the first thing you come across is:

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click on this and you are informed that:

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What is the point of this? Why should the arts even be expected to work for the glory of other, maybe, more important subjects? For example, I cannot find out how participation in maths benefits arts learning, which is not surprising: Imagine the furore there would be if it was discovered that studying Maths made a child worse at writing poetry and making pots, maths departments would be immediately closed all around the country!  I jest. The whole point of studying maths is to get better at maths, is it too much to ask that people study the arts in order to get better and know more about the arts?

If it is true that some schools are squeezing their arts provision the EEF toolkit is just the sort of thing that gives ammunition to the utilitarian philistines who think the arts get in the way of ‘proper’ learning. What is the point of this sort of research? As the EEF say: transferability of learning “is not automatic and needs further exploration.” So why the Arts should be charged with such a task God only knows.

Please can we value the Arts for their own sake, a rich way to examine the human condition and our concerns rather than as a means to some other ends?