Saving a place for the arts?

The arts, social inclusion and social class: The case of dance

“…Brehony (2005) illustrates the limited opportunity for creative arts experiences at primary level adding that in the year 2000 primary schools were told that they could cut back on subjects such as art, music and PE (including dance) to concentrate further on these areas. This concurs with Downing et al's (2003) report that head teachers and teachers perceived pressure to reduce any emphasis on the arts. Such directives have a particular impact on dance, which scarcely features in either the Excellence and Enjoyment document or indeed the National Curriculum.…”

“…The National Campaign for the Arts (NCA, 2004) sums up the situation: 'at present there is a deepening concern that arts within a formal educational context are being increasingly marginalised' and 'Members …. Downing et al (2003) report head teachers' and teachers' expressed view that they perceived pressure from national and local government to 'downgrade the importance of the arts' (p. viii); they also comment on the rare incidence of specialist arts teachers at the primary level and that most teachers of this age group have experienced at best only a very rudimentary acquaintance with any of the arts during their pre-service training. Brehony (2005) concludes that despite the 'Excellence and Enjoyment' strategy, the limited opportunity for arts experience is particularly apparent at primary school level where the emphasis is on literacy and numeracy and there is little evidence of any serious intent on the part of the government to place creativity at the heart of the primary school curriculum.…”

“…Brehony also points out that any government emphasis on creativity seems to be directed at secondary schools, a view supported by an examination of the literature on creative partnerships referred to earlier. Downing et al (2003) report head teachers' and teachers' expressed view that they perceived pressure from national and local government to 'downgrade the importance of the arts' (p. viii); they also comment on the rare incidence of specialist arts teachers at the primary level and that most teachers of this age group have experienced at best only a very rudimentary acquaintance with any of the arts during their pre-service training. It seems from the evidence that aesthetic knowledge and understanding is insufficiently valued by policy makers at all levels of education.…”