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Further memorandum submitted by Professor Anne Bamford, Director, The Engine Room, University of the Arts, London Introduction In 2004-5, I was commissioned as a World Scholar for UNESCO to undertake research to establish the impact (if any) of arts-rich programmes on the education of children and young people around the world. This research provided baseline data for arts education around the world. The findings, reported in the book, "The Wow Factor: Global research compendium on the impact of arts in education" (Bamford, 2006) indicate that the arts and culture make a valuable contribution to the total education of children especially in relation to academic performance, well-being, attitudes to school and perceptions of learning but that the character of arts education varies considerably from country to country. Furthermore, the scope and breadth of the arts and cultural education around the world differs quite considerably.
Following on from the UNESCO study, a number of governments have commissioned me to undertake specific evaluative national impact studies within country. Currently completed are studies in Denmark, Belgium and The Netherlands, with studies underway in Germany, France, Australia and Korea. These studies have examined policy and practice in arts and cultural education and provide European benchmarks for the evaluation of creative partnerships within the United Kingdom. While the global and national impact research I have undertaken is very extensive and detailed, I have tried in this submission to respond to the specific questions and related issues guiding your inquiry. I am also able to provide international evidence to inform your inquiry and would be happy to appear before the Committee.
Definitions The arts appear in the educational policy in almost every country in the world yet there is a gulf between the 'lip service' given to arts education and the provisions provided within schools. The term 'arts education' is culture and context specific. The meaning of the term varies from country to country, with specific differences between economically developed and economically developing countries. This is true also of creative education.
The issue of creativity and imagination resulted in the most diverse responses of any area of the global research. While the general consensus identified research that supported the view that arts education engendered creativity and imagination, there was also the widely held view that these attributes can be nurtured through the arts, but not directly taught. This is underlined by a comment from a Canadian respondent, "personally, I don't think you teach imagination as much as you create a free, open, non-judgemental environment with many opportunities to explore imagination."
The quantitative data indicates that while 75% of countries acknowledged that creativity was enhanced through quality arts education, a relatively high 25% of responding countries felt there were little or no connection between arts education and the development of creativity and imagination.
These figures are interesting, as creativity and imagination are traditionally seen to be the main reason for the inclusion of arts within the school curriculum. Given the data from this research, it seems far more significant that the arts contribute to cultural and community development and that the development of imagination and creativity - while still significant - is of less overall importance.
Significantly, creativity and imagination were perceived as teaching and learning methods, rather than content. So, for instance, an arts-based approach to learning is likely to be more original, engaging, open-ended and pupil-centred. Conversely, in school systems such as Republic of Seychelles, more creative approaches to teaching and learning methods were considered to be dangerous and anti-social. In this system, "creativity is more or less considered, in practice, as a deviant, anti-social behaviour whether displayed by a pupil or a teacher. Natural curiosity may be considered as mischief-making."
In Barbados and England, specific programmes have been developed to build creativity and imagination within overall approaches to learning. The PEACE programme in Barbados trained teachers to use drama strategies to enhance the teaching/learning process in all subject areas. In England there are many examples of attempts to use more creative based methods of learning: The Arts Council's Creative Partnerships programme provides school children across England with the opportunity to develop creativity in learning and to take part in cultural activities of the highest quality. Some of this work is through arts education.
Arts Education in Secondary Schools: Effects and Effectiveness (Harland et al, 2000) investigated the development of creativity and thinking skills. Numerous responses were given by both teachers and pupils in relation to the outcome of creativity from arts education lessons. For pupils, creativity, imagination and experimentation was about using their own ideas. Creativity was frequently recognised as an effect of arts education; however pupils had a very wide definition of creativity. There was no progressive or sequential thought to how pupils recognised the development of creativity.
Generally speaking, the academic world suggests a strong connection between arts education and the development of imagination and creativity but there were limited statistics or case studies that give a precise answer to the question.
Projects and institutions like Colegio del Cuerpo, Taller del Parque, Imaginando Nuestra Imagen, Mafalda and Academia de Arte Guerrero in Colombia focus on the development of students' imagination. In Germany, Finland and Austria, respondents reported anecdotally how arts education had given rise to more creative and interesting approaches to teaching. For example, the projects in Finland have shown "that creativity has increased by generalist teachers and among other teachers as well (especially in the project The Oak of Finland)". Similarly, in Austria it was noted that there are "quite fascinating results but we do not have a comprehensive concept of creativity in schools by which to compare these results". In Germany they also noticed that the teachers' approaches to the pupils altered to become more facilitation oriented. The Finish examples pointed to the way enhanced art education experiences built the creative capabilities of generalist teachers. It should also be noted, that while many countries experienced these sorts of changes, there was consensus that there was a lack of understanding of the terms creativity and imagination and this meant that comparative and empirical data was difficult to obtain.
In several countries, creativity and imagination were actually perceived to be adversely effected by poor quality arts eduction programmes. In Australia the comment was made that: Many arts education programmes actually hinder creativity; by not providing a developmentally appropriate toolkit of skills with which to explore creative expression, and by not providing opportunities, time, or frameworks which scaffold creative expression. I am concerned that many arts education programmes discourage the active and creative use of imagination, in the demands to conform to a standard form of artistic expression.
Similarly, it was noted in Austria and the Netherlands, that while creativity and imagination could be engendered through the arts, this was generally not the case, and even where it was apparent in some instances, these were poorly researched and evaluated to determine the real nature of the learning that was occurring
Despite these reservations, in countries such as Canada, where substantial studies in this field have been conducted, the relationship between arts education and creativity and imagination appears to be direct and causal. The Canadian response, built on the findings of a number of research studies, suggests "almost all studies report such findings". Education in creative and imaginative approaches was also a feature of the Canadian system. For example, "most teacher education extra-curricular programs [in Canada] rely on the arts. Student services at my institution run such art-focussed groups for teacher education candidates."
Teachers and partnership The research across a number of countries indicated that partnerships and closer links between arts education and the arts and cultural community enhanced the value for arts-rich and creative education. Partnership was also seen as a major way to overcome the significant global lack of teacher expertise. Interestingly, in a world average, 54% of all arts education is taught by people other than teachers. These include artists, community members, parents and others.
Of the 46 % of arts education, which is delivered by teachers, 85% are generalist teachers, i.e. teachers who teach a variety of subjects. This is particularly the case in primary schools, where the number of specialist teachers is relatively low. In terms of world averages 54% of the generalist teachers have received less than 3 months or no arts education training.
Within the secondary sector, there are a higher proportion of specialist teachers, i.e. teachers who predominately teach arts disciplines (81%). The teacher education for specialist art teachers seems to be better with 80% receiving more than one year of training. However, there is a concern that even within this specialist group, 15% of teachers receive less than 3 months of no arts education training.
Conversely, a trend indicated in the data that has not generally been considered in relation to the delivery of arts-rich education is that artists are increasingly taking a role in the delivery of arts education (56%). The data suggests that artists are reasonably well-trained (with 54% having more than a year arts training). Once again, this figure needs to be interpreted with care as it is unclear whether the training indicated by each country includes general training as an artist (e.g. a fine arts degree) or specific arts education training. Given this caveat, it is still significant that of the artists actively teaching arts education in the schools, 31% receive less than 3 months or no arts education training. If the involvement of artists within arts education is to be encouraged, consideration will need to be given to the training of artists whose practice will largely be conducted within an educational context. Such professional development would need to be handled with care as the intention would be to give artists a broader understanding of the educational context, but not acculturate them into being pseudo 'teachers'. Clearly apparent within the case studies is the idea that artists bring something unique and valuable to arts-rich education and that this would be lost if they were to resemble too closely the formal teaching staff.
The lack of quality and qualified teachers impinges directly on the quality of arts education received by the child in the classroom. As is eloquently concluded within Nepal "A good class of art and craft depends on teachers themselves." The vital role played by passionate and committed teachers in ensuring quality arts rich education is apparent in all national systems and is the single most important determining factor effecting coalface quality.
Similarly in the Irish programme, "Artformations" took advantage of the partnership between artist and educators to enhance the professional capacities of both groups. The programme acknowledged that both artists and teachers have particular expertise. In particular, it was felt that the expertise of the teacher could be shared with the artists in terms of stages of learning development, school structures and classroom management.
Furthermore, many countries have instigated large scale curriculum and policy reform to place the arts in a more central position within education but these initiatives have largely been unsuccessful without adequate pre-service and inservice professional development. For example, within Mongolia detailed arts standards have been developed and applied but "a lack of training for teachers in the implementation of the new standards" means that in many instances the arts education and child receives has changed very little. Conversely, as stated previously, in countries where policy change has been backed by teacher training, such as in Colombia and Cuba, major advances have been able to be made in a relatively short timeframe.
Creativity shifts The arts have an enormous part to play in the total experience of education that students receive. Students develop greatly in terms of risk taking, confidence, and ownership of learning through involvement in the arts. The arts really are involving; they promote a sense of community through a shared sprit and encourage student motivation to learn. Through establishing connections with students, the arts offer something unique and intrinsic to the quality of education. There is a view that the arts lack focus. Numerous and at times conflicting aims - and supposed outcomes - are attributed to arts education with limited research to substantiate these claims. To be able to understand arts education practices, there is a need to ascertain the goals and intentions governing these practices. The arts have been included in some form or another in education for many years, yet the problem of quality and the differences between espoused policy and classroom practices have been documented in almost all countries. The Council of Europe in its report Culture, Creativity and the Young Project noted that:
The study of arts education provision in these countries in many cases also shows an inconsistency between national policy statements, which strongly emphasises the importance of the cultural dimension of education and of encouraging artistic and aesthetic development in young people, and the existing practice, where the status of and provision for arts education appear less prominent. Moreover, emphasis on academic and technical education often places the arts in the periphery of the curricula encouraging polarities between the arts and the sciences. Such facts are reinforced by the existence, in many countries, of separate ministries of education and culture often resulting in the development of independent responsibilities. The research indicated that while advocacy to include arts as part of education policy has largely been successful (as stated earlier, as a core part of policy in 84% of countries surveyed), this has not led to wide scale implementation of quality arts programmes at the school level. The current situation sees global monitoring and reporting on educational standards within literacy, mathematics, science and ICT but does not include the impact of arts and cultural experiences within a child's total education. It appears that this is due to an insufficient understanding of the implementation process.
Parents and care providers Across the global picture, parents and the community play an important role in the delivery of arts education programmes (19%). Of the community engaged in arts education, 75% receive no training. Evidence within the UK would suggest that the rate of involvement of parents and the community is lower than the overall global figure of around 20% of programmes.
The arts and creativity The extensive global research analysis cautions that there is little evidence to support the idea that the arts alone - or even predominantly - can be considered to directly impact in the areas of creativity and imagination. While it has been a long held belief that the arts build creativity and imagination with children, there was limited empirical evidence to support this as a conclusive finding. It could be said that there is a lack of understanding of the terms creativity and imagination and comparative and empirical data is difficult to obtain.
Creative industries In our economy today, inventiveness, design and innovation are necessary for survival. Innovation demands that ideas are free flowing, which in turn requires that people be creatively and well educated. The young people of today will be the inventors of the new cultural patterns and social philosophies of tomorrow. They will need to be able to design the materials, conditions, and community to fit this new world. To achieve this, young people require sustained and sequential learning both within and through the arts.
Aligned with this, school reform will see the reconfiguration of schools to become less bound by the physical walls of the school and will increasingly become centres for connecting the child with a range of learning resources. The Internet has fundamentally changed the way we communicate and access knowledge. Students can more readily access information from galleries, museums and the broader educational community. In accordance with this trend, schools should extend the classroom boundaries to include art and cultural institutions and be flexible with timetables and other structures to allow students to become immersed in their investigations.
Achievement in other areas Art has an intrinsic value but the view that art is of value in itself does not preclude additional educational benefits. One of the main findings evident in the responses from every country is that quality arts-rich programmes have positive effects on educational attainment.
The data indicated that over 75% of quality arts programmes had led to direct improvements in academic achievement. In a number of instances there was strong national or case study empirical data to support the proposition that arts education programmes improve students' academic attainment. For example, in a study conducted in the USA found: Learning in and with the arts has been linked with increased student achievement, but the means by which the arts may support cognitive growth in students is relatively undocumented. Thirty students across ten classes in veteran teacher/artist partnerships were selected to explore the processes and outcomes associated with arts-integrated learning units versus learning processes and outcomes in comparable non-arts units. The student sample evenly represented comparatively high, medium, and low achievers. Even though we observed differences in levels of arts integration across classrooms, students from all achievement levels displayed significant increases in their ability to analytically assess their own learning following arts-integrated units. No such gains were associated with traditional instructional experiences. Students also described their arts-integrated versus non-arts learning differently. Arts-integrated instruction: 1) created more independent and intrinsically motivated investments in learning, 2) fostered learning for understanding as opposed to recall of facts for tests, 3) transformed students' characterizations of "learning barriers" into "challenges" to be solved, and 4) inspired students to pursue further learning opportunities outside of class.
In a very substantial Singaporean national study it was found that, while significant improvements were noted in arts education development, engagement in the arts had led directly to enhanced literacy and English language performance. The study conducted over three years demonstrated that:
- There was an improvement of 'O' level Art results, from 50% passes in 2002 to 100% pass with 33% distinctions in 2003. - From teachers' and parents' feedback, students displayed an increase in level of confidence in their usage and expression of English language after the Speech & Drama programme was implemented.
Of those countries submitting observed statistical research data on student achievement, the improvements noted bore remarkable similarities across quite diverse case studies. In terms of literacy, the improvement noted ranged between 18-24% with an average of 22% improvement. In mathematics, the range of reported improvements was between a 3% and 15% improvement noted in different studies, with an average reported improvement of 6%. As only a few countries had substantially measured improvement in language results (learning of languages other than the mother tongue or home language of the child) it is not possible to provide large scale statistical evidence, yet those cases that had measured this aspect of arts-rich learning reported significant improvements (see the detailed example from Singapore that follows). This particular aspect of impact research warrants further investigation.
In Canada a number of detailed and comprehensive longitudinal studies have repeatedly indicated the connection between engagement in quality arts programmes and improved student achievement. Interestingly, these studies also highlighted a reduced dropout rate and enhanced student cooperation and positive school learning environment. The Learning Through the Arts (LTTA) 3-year evaluation National Arts and Youth Demonstration Project (NAYDP) [demonstrated that] Students enrolled in the LTTA programme have shown improvement across most if not all subject (i.e. non-arts classes as well) LTTA has seen significant increases in standardized test scores over non-ltta schools. Participants in the NAYDP have shown improvements scholastically; that they have a lower drop out rate; and a higher level of educational achievement. These results were mirrored in a number of other countries. In Australia, the Education and Arts Partnership Initiative (EAPI) research had shown strong causal links between the inclusion of arts education and improved academic and social outcomes from school, particularly in the area of literacy. A comprehensive study across a number of cases in Australia funded by the Australian Government through the Department of Education, Science and Training, the Australia Council and the Department of Communications, Information Technology and the Arts provides further evidence that exposure to the arts provides positive general learning outcomes, particularly for young people who are Indigenous, in remote or regional communities or from disadvantaged backgrounds. The selected sites offered a variety of arts programmes with a focus on drama (at two sites, Youth Arts with an Edge and Arts@Direk) and music (at two sites in the Northern Territory, Boys' Business and the Indigenous Music Education Programme). There was a range of ages from Year 4 (primary) to Year 10 (secondary) and a diverse range of backgrounds amongst the participating students. The diversity of sites necessitated a variety of evaluation strategies. The outcomes from the study substantiate evidence that involvement in arts programmes has a positive impact on students' engagement with learning and, for students from Indigenous communities, leads to improved attendance at school (attendance was not seen as an issue at other schools). For example, in one case, a Year 4 'arts rich' group scored significantly higher than a matched 'non arts rich' group on the generic competencies of problem solving, planning and organising, communication and working with others.
Similarly, the 'Bastian-study' in Germany proves that music-education in schools contributes to improved levels of educational attainment. Empirical work in the USA correlates the presence of quality arts programmes with improvements in educational attainment. These include CAPE in Chicago, Big Thought (Young Audiences of North Texas) in Dallas, the A+ Schools in North Carolina, the New England Conservatory Charter School in Boston, and the large number of studies identified in the Champions of Change document.
In Australia, a project evaluating the impact of a music programme upon the educational outcomes of Indigenous learners according to recognised numeracy and English literacy benchmarks and community expectations, as contained in the National Indigenous English Literacy and Numeracy Strategy (NIELNS) found that arts education "allowed students to experience academic achievement and access employment options by the pathway most valued by mainstream Australian society; that is through standard Australian English literacy and numeracy outcomes."
This educational improvement was particularly evidenced in areas such as literacy learning, language learning and individual and social development of the child. An extensive study investigating the impact of drama strategies on the development of oral language proficiency at Secondary 4 level (Normal Technical Stream) conducted in Singapore found that the use of artistic pedagogy had a marked impact on children's assessment scores in English language learning.
There was also sustained evidence that arts-rich environments can enhance general community sustainability, especially in 'at risk' community settings. In Canada, the National Arts and Youth Demonstration Project (NAYDP), a three-year demonstration study, initiated in 2001 and implemented in five sites across Canada, in which the aim was to explore art programmes as an alternative pathway to enhancing the life chances of children and youth in lower income communities in the country found that:
[The] project has had a very positive regenerative impact at the local level, extending from student to family to community. Within the children it has been observed that there is increased confidence, pride, self awareness, interest in the arts, respect for others, and engagement in the community. Parents and the community interviewed also reported similar changes. For the artists who were partners in this project, their participation acted as a catalyst, expanding and infusing their existing arts practices, developing additional skills and making stronger connection to their community.
In addition to these empirical studies, many respondents pointed to specific anecdotal evidence of enhanced educational achievement. For example, New Zealand, reported improvements in academic attainment as being reported by parents and teachers. Related to the issue of academic attainment, a number of countries referred to the anecdotal evidence that the 'climate' of the school had improved significantly because of the inclusion of arts education and this had indirectly led to improved student attainment. These skills were often seen as generic learning skills that were directly transferable to improved academic results. A number of comments were made similar to this one from the Netherlands: Arts education stimulates children to give the best they can, they develop their talents in a secure environment and they are challenged in an appropriate way. That gives them self-confidence and courage to face new situations. Their communication skills are very good and they are curious for new 'knowledge'.
Of particular relevance, was the manner in which a number of countries identified that the development of problem solving, critical thinking and collaborative skills directly attributed to arts education and had positive effects on academic attainment. For example, Austria noted that the social component of working in a process-orientated basis and in groups - as occurs in quality arts education - influences and improves the level of educational realization. The respondents from China noted that "projects of learning through the arts managed to develop students' generic skills in general" and this led to "enhanced student academic achievement". Canada, Australia, the UK, the USA and Finland all have detailed studies that indicate that quality arts education leads to enhanced student attitudes and confidence. Within a number of other countries there was strong anecdotal evidence to suggest that involvement in the arts makes a major contribution to a child's emotional well being, confidence and attitude to school.
In Nigeria it was acknowledged that arts education improved children's skills and attitude to life. This view was echoed from the Austrian observations that suggested that the arts led to "different points of view [and] help to open the mind." Similarly in China there was the view that arts education made children "enjoy learning more in general [and] have more self confidence in themselves and have improved communication with their peers." In Australia, involvement in arts programmes had led to improved engagement and attendance at school for indigenous students. Senegal noted that pupils in arts education classes are able to: "work in group; show generosity, intellectual curiosity, imagination, humour; express constructive appreciation; accept observations on their work; and understand the meaning of competition."
Canada had a very detailed programme for evaluating the social and attitudinal benefit of the arts. It was reported in Canada, that "for 'social issues' in schools, the arts are routinely the first response made by school boards and principals." Research accompanying the Canadian projects supports the way the arts contribute to improved student attitude and confidence. Details of these can be found in the National Arts and Youth Demonstration project and the Arts Network for Children and Youth (ANCY). The first is a research project which goes into communities of high risk youth, parents and teachers and documents improved behaviour as a result arts education. ANCY is an association of programmes and organizations, many of which partner with organizations and government departments and agencies (Heath and Welfare, Justice, Royal Canadian Mounted Police, local authorities, community and recreation centres).
Impact: Measuring creative achievement While the results on the impact of the arts on imagination and creativity are largely anecdotal and could not be considered causal, empirical evidence suggests that the expansion of arts-rich education within general education, or as an adjunct to education within the informal education sector had a marked impact on children's general health, well-being and positive social engagement.
Despite these general findings, it is reasonable to say that research in impact measurement in the arts has not been fully developed. There is a tendency for research to be advocacy rather than independent research. This is often exacerbated by a trend for the funding agency that 'did' the programme to also seek the evaluation. It is unlikely that a group receiving funding for a programme from one agency and then asked by that same agency to research its impact is ever going to say anything other than what an amazing success it was!
A lack of sustained funding for arts education research means that there are very few comparison studies (i.e. comments from governments such as "we funded a big study into arts education 5 years ago so we are not gong to fund another one") and almost no long-term, longitudinal impact studies. Internationally, almost all the research studies are illustrative not analytical. Many of the research studies give excellent descriptive accounts, but fail to make major, "So what?" type of statements, often falling short in terms of analysis and recommendations. In many countries, it is not about conducting more empirical studies, but rather about searching the many descriptive studies gathering dust in the cupboards and commissioning some researchers to conduct a meta-analysis of these studies to formulate policy and practice 'ready' recommendations.
There is a lack of consistency in terminology, methodology and frameworks of quality that make comparing research difficult. The culturally specific nature of the arts and creativity is very valuable per se but it adds to the challenge of analysis as findings are only meaningful within the specifics of the context that gave rise to them. Put simply, research in the arts is often like trying to compare oranges and apples. Very few studies collect baseline data (i.e. what was the situation like before the programmes and investigation) nor do they attempt to benchmark their data (i.e. how do the data from this set compare with other sets that could act as reasonable counterpoints for analysis).
Most impact measurement studies fail to adequately determine the parameters of quality before measuring impact. If the quality is mixed, the impact is likely to be mixed and therefore, the data on impact is significantly skewed or may be nullified.
I would strongly urge the Committee to examine in more detail the area of quality. In most impact studies to date, the major problem has been that quality has not been determined prior the measuring quality. That means that both good and 'bad' creative education is measured equally. For example, if 3 people each go to 3 different concerts. The first concert is wonderful, the second average and the third woeful. If one was to undertake impact measurement of the effects of concerts on this cohort (i.e. N=3), the results would probably conclude there was no impact as the effect of the good and bad concert would cancel themselves out.
In actual fact, the researcher was probably really seeking to know the effects of good concerts on individuals or groups. If this was so, it is first necessary to define the parameters of quality. These parameters would be applied to the concert to first determine which of the 3 were of good quality, and, once selected, the researcher could then proceed to measure the impact on the 3 people all attending the good concert. Ideally, then perhaps the researcher would benchmark the impacts of that concert on the 3 participants against the impact on 3 people attending the woeful concert.
In the arts, it is not possible to commence meaningful impact measurement or evaluation - using any method - without first determining the quality of the experience and how it was received.
Given the value of determining quality as a forerunner to being able to effectively ascertain impact, a great deal of emphasis needs to be placed on how, as an arts education community we can develop frameworks for quality to inform the research process.
To be quite blunt about this, the international research (Bamford, 2006) showed quite consistently over all measures of impact that if quality of arts or cultural provisions were poor the effect on impact was not - as perhaps had been previously assumed -zero. In fact statistically, regardless of the claimed impact, there seemed to between 17-28% (averaged at around 22%) negative impacts of poor quality programmes. Put crudely, this meant that in a global sense about 1/4 of all the arts and cultural education a child receives is likely to have a negative impact (i.e. make them less creative, less confident, less imaginative, attend school less and so on). It could thus be reasonably assumed that much of the impact measurement that has been completed to date has failed to account for this 22% negative effect.
It was a somewhat unexpected result of the research that from all the diversity of case studies presented the parameters of quality were so uniform. From this consistency, it is reasonable to develop a detailed and comprehensive list of the characteristics, in terms of both structure and method that are indicative of - or at least likely to be evident in -quality arts programmes, regardless of the context in which they operate. High quality education programmes in and through the arts were characterised by:
- Active partnerships between schools and arts organisations and between teachers, artists and the community; - Shared responsibility for planning, implementation and assessment and evaluation; - Opportunities for public performance, exhibition and/or presentation; - A combination of development within the specific art forms (education in the arts) with artistic and creative approaches to learning (education through the arts); - Provision for critical reflection, problem solving and risk taking; - Emphasis on collaboration ; - An inclusive stance with accessibility to all children; - Detailed strategies for assessing and reporting on children's learning, experiences and development; - Ongoing professional learning for teachers, artists and the community, and; - Flexible school structures and permeable boundaries between schools and the community.
Throughout the results there is an unequivocal indication that the positive benefits of arts-rich education only occur within the provision of quality programmes. Quality arts education tends to be characterised by a strong partnership between the schools and outside arts and community organisations. In other words it is teachers, artists and the communities, which together share the responsibility for the delivery of the programmes. 'Quality' is defined as being those arts education provisions that are of recognised high value and worth in terms of the skills, attitudes and performativity engendered.
Arendt, H. (1958) The Human Condition (Chicago, University of Chicago Press). Bamford, A. (2006) The Wow Factor: Global research compendium on the impact of the arts in education (Berlin, Waxmann Verlag). Dewey, J. (1934) Art as experience (New York, Minton Balch). Disch, L.J. (1996) More Truth than Fact: Storytelling as Critical Understanding in the Writings of Hannah Arendt, Political Theory, 21(4), pp. 665-694. Kissick, J. (1993) Art: Context and criticism (Bristol, Wm C. Brown Communications, Inc). Pearsall, J. (Ed.) (1998) The New Oxford Dictionary of English (Oxford, Claredon Press).
July 2007
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