House of Commons Education Committee inquiry, 2011“Academic subjects are not the only path to a successful future, and all young people, regardless of background, must continue to have opportunities to study the subjects in which they are likely to be most successful, and which pupils, parents and schools think will serve them best.”
This quote is from an inquiry following the introduction of the English Baccalaureate (EBacc) in 2011 which it was feared would lead to a narrowing of the curriculum. This fear has now become a reality for 93% of the student population. In England, over the last 20years we have seen a steady decline in the provision of arts and cultural education in the state school system, particularly at secondary level. In the private (fee paying) system however we have seen the reverse with an increase in investment, provision and value ascribed to arts and cultural education. This two-tier system has led to increased inequalities in terms of access to, and the value of, a broad educational experience that includes arts and culture.
Declining arts in the state sector
An education policy focus on ‘core’ subjects in the late 1990s has been embraced by successive governments leading to the foregrounding of STEM (Science, Technology, Engineering and Maths) and subsequently the introduction of the EBacc. State secondary schools are measured on the percentage of students attaining the EBacc which consists of GCSE grade 4 and above in; Maths, English, 2 Sciences, History or Geography and a foreign language. This system of curriculum control through measurement establishes a very clear set of priorities and schools have little choice or opportunity to develop the curriculum beyond this in a way that supports the talents and needs of their cohorts.
The result is a narrowing of the curriculum that has been exacerbated by funding cuts. The Institute for Fiscal Studies reported a 9% drop in funding per student between 2010 and 2020, forcing state schools to prioritise funds towards the delivery of EBacc subjects in order to comply with performance metrics. This has resulted in a significant reduction in the numbers of teachers, teaching hours and take up of key arts-based subjects such as drama and music, with those from less advantaged backgrounds being the most affected.
Taken together funding cuts, alongside performance measurements for schools that exclude the arts and culture, have led to a reduction in the opportunities for students in state schools to access or engage with the arts and culture in education.
Increasing arts in the private sector
By contrast, children attending the leading private schools in England have experienced significant growth in the provision of arts and cultural education through a broadening of the curriculum (often termed the co-curriculum). Arts and cultural education are valued beyond the benefits they provide in relation to academic achievement and are an integral part of the curriculum. In these schools, headteachers are able to shape educational provision to the needs of the students (and parents). Here there is an emphasis on the importance of valuing and nurturing all of a student’s abilities and talents.
On a practical level these leading schools have made significant investments in arts facilities. The twenty schools we examined had a total of 33 theatres, ten had dedicated dance studios, 18 had dedicated rehearsal spaces, all had fine art studios, all had provision for concerts and 19 had specialist facilities for specific arts forms such as photography, ceramics, textiles, sculpture, film etc. The Sunday Times reported that private schools had fifty-nine theatres in London compared to the West End’s forty-two.
These facilities are supported by industry professionals including artists in residence, film maker in residence, musicians, designers, directors and more. Many of these professionals have worked and taught extensively in the sector including the Royal National Theatre, providing links to professionals who provide specialist workshops and other support, bringing the most-up-to-date knowledge and perspectives into the education of these pupils.
The 7% of students attending these leading private schools in England are disproportionately represented in positions of power throughout economic, political and cultural life of the country. For example, in 2020, 65% of the Johnson cabinet were privately educated. This suggests that the values, skills and attributes that these schools seek to develop are influential in shaping the behaviours of those in leadership positions with arts and culture being integral to that development.
Conclusion
The two-tier education system in England is experiencing a widening gulf in the provision of arts education. On the one hand state provision tightly controls a narrowing curriculum increasingly excluding arts and cultural education for 93% of pupils. On the other hand, a more autonomous private system that is widening the curriculum through an emphasis on arts and cultural education for the 7% who benefit from a private education.
This is an area in which the levelling-up agenda could usefully be employed. The arts and creativity have become increasingly important in all aspects of work and life. In many European countries, and elsewhere in the UK, arts and cultural education are integral to the education system as it is in the private sector in England. In England, the state system has become an exception.
Read the original research here.
Dr Heidi Ashton is assistant professor at the Centre for Cultural and Media Policy Studies, University of Warwick
