Add presentation title to master slide | 1 CAPE UK Conference 15 September 2014 Challenges and...

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CAPE UK Conference 15 September 2014

Challenges and opportunities for the arts

Ian Middleton Her Majesty’s Inspector


Inspection evidence

This presentation draws on reports and the school inspection handbook published by Ofsted: School inspection handbook 2014 (Ref: 120101)

Ofsted subject reports:

Drawing together: art, craft and design 2009 (Ref: 080245)Making a mark: art, craft and design 2012 (Ref: 110135)Music in schools: wider still, and wider 2012 (Ref: 110158)Music in schools: what hubs must do 2013 (Ref: 130231)

Ofsted ‘good practice’ case studiesInstitutional inspection reportsAll are available at: www.ofsted.gov.uk

http://www.ofsted.gov.uk/


The quality of arts education matters to individuals

‘Children see before they speak, make marks before they write, build before they walk. But their ability to appreciate and interpret what they observe, communicate what they think and feel, or make what they imagine and invent, is influenced by the quality of their art, craft and design education’‘Making a mark’ (2012)


The quality of arts education matters to institutions

In reaching a judgement on the overall effectiveness of a school inspectors evaluate:

the effectiveness and impact of the provision for pupils’ spiritual, moral, social and cultural development

the extent to which the education provided meets the needs of the range of pupils at the school

Arts education contributes to both.


What spiritual, moral, social and cultural development have inspectors reported in the arts?

Examples include:

pupils’ deep reflection on their personal identity and experiences

pupils’ considered representation of moral issues, for example conflict

pupils’ awareness of the subjects’ impact on society, for example fashion

pupils’ sensitivity in discussing and appreciating culturally diverse work


How inclusive have inspectors found the arts?

In art, craft and design there are wide variations in uptake and achievement between: girls and boysacademically able and other pupilshighly creative and other pupils

‘inspectors observed pupils whose creative behaviours had gone unnoticed’

In music less advantaged pupils are less involved, even when provision is free.


The quality of arts education matters to institutions

The key school inspection judgements are about:

the leadership and managementthe behaviour and safety of pupilsthe quality of teachingthe achievement of pupils

Arts education contribute to all.


Leadership and management

In making judgements inspectors consider that:

‘the curriculum is broad and balanced, complies with legislation and provides a wide range of subjects, preparing pupils for the opportunities, responsibilities and experiences of later life in modern Britain’

‘the school works in partnership with other schools, early years providers, external agencies and the community (including business) to improve the school, extend the curriculum and increase the range and quality of learning opportunities for pupils’


What aspects of leadership and management in arts subjects have inspectors found effective?

‘strong leadership secured highly effective partnership working between teachers, subject specialists external to the school, and parents and carers’

‘leadership and management were most effective when staff used their keen understanding of strategies used in other schools, for example to tackle variations in achievement’

‘in the strongest departments subject leaders made a keen contribution to research and innovation in the subject’


What aspects of leadership and management in arts subjects have inspectors found less effective?

‘insufficiently rigorous self-evaluation contributed to a lack of awareness of the need for subject training’ In music school leaders evaluated the subject too optimistically.

‘limited access to training in art, craft and design was an increasing concern for all subject leaders’ In music subject leaders were isolated.

‘leaders focused on pupils’ progress in their particular phase of education rather than all phases’


Behaviour and safety

In making judgements inspectors consider:

‘ the extent to which pupils’ attitudes to learning help or hinder their progress’

‘pupils’ contribution and response to the culture of the school’

‘the extent to which pupils are able to understand, respond to and calculate risk effectively’


What positive attitudes to learning have inspectors reported in the arts?

active participation in lessons, for example by initiating ideas and working intensively, or demonstrating their skills to their peers

preparation for or follow-up to lessons, for example by researching creative practitioners independently or maintaining sketchbook skills

sensitively expressed views about the creative work of others or resilience and responsibility when responding to criticism expressed by others


sustained interest in work, for example by pursuing the creative potential of ideas, media and techniques or responding curiously and confidently to the unfamiliar

strong commitment to optional activities, for example a community ‘Big Draw’ event, an individual Arts Award, Saturday workshop, or independent gallery visits

cooperation with teachers, support staff, visiting practitioners and with their peers when working collaboratively

What positive attitudes to learning have inspectors reported in the arts?


Teaching

In making judgements inspectors consider that:

‘The most important role of teaching is to promote learning’

‘Ofsted does not favour any particular teaching style’

‘not all aspects of learning – for example pupils’ engagement, interest, concentration, determination, resilience and independence – may be seen or be expected to be seen in a single observation’


What aspects of arts teaching have inspectors found effective?

’pupils’ experimentation with ideas and media, supported by judicious and confident use of teacher demonstration’

‘skilful use of challenging subject matter and questioning to develop students’ ability to reflect deeply on their own work and that of others’

‘a well ordered catalogue of recordings over time, supported by commentaries and scores, provides a very effective and compelling way to demonstrate students’ progress’


What aspects of arts teaching have inspectors found less effective?

‘lack of specialist expertise resulted in competent but formulaic teaching unsuited to the promotion of creativity. In these lessons there were missed opportunities to capitalise on the unexpected or accidental’

’opportunities were missed to capitalise on students’ enthusiasm and interest in the visual world’

‘subject-specific learning was hindered by ill-conceived strategies to develop students’ wider skills and particularly their literacy’

‘day to day music teaching for all pupils was often weak and unmusical’


Achievement

In making judgements inspectors consider:

‘the learning and progress across year groups of different groups of pupils’

‘regard for pupils’ starting points’

‘how well pupils’ work shows that, where possible they have the knowledge, understanding and skills expected’

‘inspectors will not expect to see a particular assessment system in place’


Achievement

What does arts education enable pupils to know, understand and be able to do?

skills, knowledge and understanding distinct to arts subjects, for example visual communication

develop creatively and be able to apply their creativity personally and professionally

High quality arts education enables pupils to participate fully in creative and cultural experiences and progress into arts related further education, training and employment.


What limits pupils’ achievement in the arts?

Visual communication: drawing

Drawing is used in most subjects. It helps pupils to be visually literate so that they are able to read, interpret and construct meaning from signs, symbols, codes and conventions they encounter. As a form of communication drawing has transcended history and cultures. Apart from wider applications drawing is a key skill for pupils wishing to work in the creative sector.


What limits pupils’ achievement in the arts?

‘the notion that everyone can draw is not being kept alive beyond the early stages of schooling’

’pupils continued to develop their skills in observational drawing but did not build well enough on the confident imaginative drawing which many of them had developed when younger’

‘perceptions of pupils’ own drawing abilities were often at the heart of their attitude to the subject’


What accelerates pupils’ progress?

Tackling key subject skills. For example, where achievement in drawing was at its best, teachers and subject leaders:

ensured pupils were exposed to a range of approaches to drawing across all key stages and supported progression in pupils’ mark-making as drawingtackled pupils’ low confidence in drawing in the early stages of secondary schoolhelped older primary pupils sustain their enjoyment and confidence in drawing as a key processoffered exciting reasons to draw which modelled those used by creative practitionersattached importance to drawing in the development of the subject and in their evaluation of the quality of the provision offered to pupilsrefreshed their own engagement with drawing through professional development, including work with creative practitioners and art galleries.

Pupils taking arts subjects is declining

Regional variations in uptake and success are too wide


There is a mismatch between education and opportunity

Number of students applying to study creative arts at university fell by 17% between 2011 and 2012

Creative Industries worth £8million an hour to UK economy

Growth of almost 10% in 2012, outperforming all other sectors of UK industry

Accounted for 1.68 million jobs in 2012, 5.6% of all UK jobs


Issues for arts educators

Core subject skills such as drawing are not improving quickly enoughFewer pupils are engaged in gallery visits or work with practitionersCreativity and links with the creative industries are underdevelopedThe proportion of students taking arts subjects is decliningInclusion issues related to gender and socio-economic factors continueArts teaching does not use the art form often enough Effective initiatives are not widespread


Priorities: improving arts education for all

Making clearer the important contribution of arts subjects to:school and college leaderspupils, parents and carers

Increasing the personal value of the subject by addressing:the distinctiveness of arts subjectsinclusion in arts subjects

Providing better equality of opportunity in the subject through:the curriculum, including partnershipsbetter teaching


Teaching: sources of evidence

The range of evidence used to make a judgement about the quality of teaching includes :

Learning environment Lessons observed Pupils’ work Feedback and marking Progress, attainment data Participation by different groups in optional activities The views of pupils and other stakeholders


Case studyThe learning environment

The range of evidence used to make a judgement about the quality of teaching includes :

Learning environment Lessons observed Pupils’ work Feedback and marking Progress, attainment data Participation by different groups in optional activities The views of pupils and other stakeholders


Case studyInspectors’ commentary and evaluation

Pupils had been thinking about the lesson in advance. They arrived with an artefact of personal significance that remained a mystery at the start of the lesson.

Pupils were immediately curious about a large cardboard box sitting in the middle of the classroom. Small movements and strange sounds emerging from the box attracted their attention. The pupils were quick to accept the teachers’ challenge to record their ideas and feelings, selecting from a range of papers and drawing tools arranged around the box.

Observing a tendency to draw animals that might sit inside the box, the teacher demanded that they push their imagination to the limits; ‘If there is a creature inside, how frantic is it? Are your drawings frantic? ‘If it is dark and scary inside, how dark and scary are your drawings? Encouraged to use words, the pupils explored how to represent ‘trapped’, ‘intimidated’, ‘cornered’, by gesturing more through their drawing. Lively, expressive drawings emerged showing layers of meaning. Ten minutes into the lesson the depth of pupils’ thinking, and fluency in the use of drawing, had progressed significantly.


Outstanding Teaching?

Indicators of a ‘highly effective’ lesson:

Effective lesson preparation: students and teacher quickly focused

Effective stimuli: students’ curiosity, interest and imagination provoked

Effective challenge: early on, students taken ‘out of their comfort zone’

Effective assessment: the teaching adapts to students’ responses

Effective questioning: students’ literacy and visual language extended

Effective achievement: students make rapid progress in deepening their thinking and gaining fluency in their drawing

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