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What we did and why

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This slide show shows the way in which the Tracking Arts Engagement and Learning Project was designed and conducted. See researchtale.net

Published in: Education
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What we did and why

  1. 1. The TALE Project: Tracking Arts Learning and Engagement What we did, and why Christine Hall, Pat Thomson Lexi Earl & Corinna Geppert
  2. 2. research partners: RSC - Tate - University of Nottingham research questions: 1. What do teachers learn from deep engagement with cultural organisations? 2. How do teachers translate this learning into classroom pedagogies? 3. What do pupils gain from these learning experiences? 4. What do the two different models of teacher professional development (RSC and Tate) offer and achieve? methods: • 3 year case studies of 30 schools • survey of arts & cultural participation among y10-13 students in the 30 schools numbers: teacher interviews: 164 focus group interviews: 323 students interviewed: 1,442 survey responses: 4,477
  3. 3. why i. decline in enrolments in exams in arts subjects
  4. 4. GCSE 2017-18 -10% decline in arts subject entries 2016-17 -9% decline in arts subject entries 2010 to 2018 -35% decline in arts subject entries A level 2010 to 2018 -24% decline in arts subject entries https://culturallearningalliance.org.uk
  5. 5. • Less time is being spent teaching music, art and drama in secondary schools • English, maths and science now take up 51% of KS4 teaching time (44.5% in 2011) • At KS3: music is down by 11%, art down by 9%, drama down by 7%, D&T down 19% • At KS4: music is down by 12%, art down by 20%, drama down by 26%, D&T down 40% compared to 2011: https://www.tes.com
  6. 6. summary i. decline in enrolments in arts subjects ii. national curriculum requirement for a broad and balanced curriculum iii. post 2010 curriculum changes: examination reform, English Baccalaureate, revised content iv. university facilitating subjects v. changes in who takes arts subjects
  7. 7. this matters because the playing field is not level • the most advantaged groups often have family-based arts capital • In schools there is weak commitment to curriculum balance and breadth in comparison with the curriculum hierarchies embodied in school level audit measures • hierarchies of positioning associated with existing capitals make it less logical for some schools, and more ‘natural’ for others, to offer broad and balanced curricula if advantaged schools keep the arts, while others are strongly steered to drop them, existing inequalities are reproduced, with school arts capital complementing family and social capital

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