CAPE UK Conference
15 September 2014
Challenges and
opportunities for the arts
Ian Middleton
Her Majesty’s Inspector
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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 studies
Institutional inspection reports
All are available at: www.ofsted.gov.uk
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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)
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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.
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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
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How inclusive have inspectors found the arts?
In art, craft and design there are wide
variations in uptake and achievement
between:
 girls and boys
 academically able and other pupils
 highly 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.
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The quality of arts education matters to institutions
The key school inspection judgements
are about:




the
the
the
the
leadership and management
behaviour and safety of pupils
quality of teaching
achievement of pupils
Arts education contribute to all.
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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’
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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’
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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’
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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’
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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
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What positive attitudes to learning have inspectors reported in the arts?
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
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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’
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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’
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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’
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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’
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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.
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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.
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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’
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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 drawing
 tackled pupils’ low confidence in drawing in the early
stages of secondary school
 helped older primary pupils sustain their enjoyment and
confidence in drawing as a key process
 offered exciting reasons to draw which modelled those
used by creative practitioners
 attached importance to drawing in the development of
the subject and in their evaluation of the quality of the
provision offered to pupils
 refreshed their own engagement with drawing through
professional development, including work with creative
practitioners and art galleries.
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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
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Issues for arts educators
 Core subject skills such as drawing are
not improving quickly enough
 Fewer pupils are engaged in gallery
visits or work with practitioners
 Creativity and links with the creative
industries are underdeveloped
 The proportion of students taking arts
subjects is declining
 Inclusion issues related to gender and
socio-economic factors continue
 Arts teaching does not use the art
form often enough
 Effective initiatives are not widespread
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Priorities: improving arts education for all
Making clearer the important contribution
of arts subjects to:
 school and college leaders
 pupils, parents and carers
Increasing the personal value of the
subject by addressing:
 the distinctiveness of arts subjects
 inclusion in arts subjects
Providing better equality of opportunity in
the subject through:
 the curriculum, including partnerships
 better teaching
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Teaching: sources of evidence
The range of evidence used to make a judgement about the
quality of teaching includes :
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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
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Case study
The 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
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Case study
Inspectors’ 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.
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Outstanding Teaching?
Indicators of a ‘highly effective’ lesson:
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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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