Why teach art?

Introduction

What value does art have in the school curriculum? This unit, primarily aimed at colleagues teaching art in schools, explores the justification for including art in the school curriculum together with some of the current criticisms commonly heard.

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Learning outcomes

After studying this course, you should be able to:

• understand the underlying values and justifications of teaching art and art history within the school curriculum

• understand developing strategies to explore and engage with some of the subject criticisms voiced

• understand enhancing and supporting pupil engagement with and exploration of these issues

• understand extending teaching approaches that incorporate some of these values and ideas.

1. Why Teach Art?

Acquisition of sight precedes language. In a tangible sense visual engagement with the world situates us and defines who we are.

Consider the three following non-linguistic signs.

Figure 1 Three non linguistic signs

Respectively, these signify a commercial brand, a road sign and a major piece of commemorative architecture (and tourist attraction!). Even while respecting varying cultural norms it might be argued that these are immediately recognisable cultural icons. All three are highly visible cultural products, which reflect human agency and creativity.

In so far as the category of art is an open concept all three might make a claim for inclusion. The point being made is simply that art (the process and methods involved in its making) and art history (broadly the study of its development and contexts) are forms of cultural enquiry. In this sense they have profound significance and meaning for all of us.

Now read ‘Art and Lifelong Learning’ by Tim Jones.

Click on the 'View document' link below to download Art and Lifelong Learning

2. Does art have a value?

Art has been described as an open concept: a cumulative and developing category of objects and processes, which by its nature is not easily definable. Therefore it might be more relevant to consider how art based activities enhance human aptitudes, abilities and skills.

Some of the skills and values gained from the study of art and art history are listed below. For present purposes these can be subdivided into those that are intrinsic (undertaken for their own sake) and those that are extrinsic (externally motivated).

Intrinsic aptitudes include:

• creativity and imagination;

• self-expression and perception;

• spatial awareness;

• visual aptitude (perception of colour, tone, composition, size, etc.);

• physical acuity (drawing, hand–eye coordination, etc.).

Some extrinsic aptitudes are:

• developing powers of description and analysis;

• extending intercultural awareness (icons, practices, symbols);

• planning and executing art projects;

• developing and supporting arguments and viewpoints;

• collaborative peer working, self-directed learning.

Please now consider Activity 1.

3. Responding to criticisms

A government minister and a school governor made the following comments, respectively:

‘Art is the icing on the cake.’

‘We have children here who can't even speak English properly – they should be doing more of that instead of leisure subjects like art.’

Both of these are, as you may appreciate, instrumental – or means–end – statements. In their various ways they place art, and by implication other humanities subjects, unfavourably on a spectrum according to their perceived ‘usefulness’ or applicability. These and similar arguments are of course not new and have been voiced at regular intervals throughout history. However, of more relevance in terms of contemporary pedagogic practice and constructive engagement with a key-skills agenda is how teaching professionals might tackle these statements and perceptions.

4. Balloon debate

Another statement from a 14 year-old student:

‘I don't want to do art – it's rubbish’

In addressing such a straight dismissal it is naturally worth considering the student's prior learning experiences, aptitudes and influences. However, this perception nevertheless encodes a declaration of value, which is not fundamentally different to some of the earlier quotes explored. It is perhaps unsurprising that negative perceptions voiced by policy makers, government figures and those in positions of public authority do influence both parental and student value judgements. This may explain why, according to some critics, disciplines such as art and music have been given a comparatively marginal status within many school curricular including topics in the National Curriculum for England.

The following activity might be useful in testing and reflecting on this hypothesis, while offering an opportunity to re-emphasise links and interdependences, particularly to the art curriculum. Student feedback may provide one basis for adjusting or reflecting upon present teaching practice or delivery.

Now look at Activities 3 and 4.

Conclusion

This free course provided an introduction to studying Education, Childhood & Youth. It took you through a series of exercises designed to develop your approach to study and learning at a distance, and helped to improve your confidence as an independent learner.

References

Acknowledgements

Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence

This unit was originally prepared for TeachandLearn.net by Diane Newall with contributions from Richard Hickman, Homerton College, Cambridge.

Grateful acknowledgement is made to the following sources for permission to reproduce material in this unit:

Deacons School, Peterborough, from the Learning Schools Programme, The Open University.

Jones, T. ‘Art and Lifelong Learning’, Directions, 18 (1), Blackwell Publishing

Every effort has been made to contact copyright owners. If any have been inadvertently overlooked, the publishers will be pleased to make the necessary arrangements at the first opportunity.

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