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What Is the Role of the Art Teacher in State-Funded Secondary Schools in England?

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What Is the Role of the Art Teacher in State-Funded Secondary Schools in England? What is the role of the art teacher in state-funded secondary schools in England? A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Education May 2017 Troy Page School of Education University of Hertfordshire 1 Abstract For many years, and particularly since the 1980s, the state has taken an interest in the curriculum of state-funded secondary schools. This interest has focused largely on utilitarian imperatives for employment and economic sustainability. A consequence of this utilitarian conception of state education is that art viewed, as a less useful subject within the curriculum, is threatened by this. Against an historic discourse about the nature of art itself and why it is taught and its value in society, the question of ‘What is art?’ and ‘What is the role of the art teacher?’ continue to defy a consensus that is useful to teachers. Concurrently, these important arguments have inevitably impinged on the practice of art teachers who find themselves distanced from cherished liberal and social imperatives, and confused about what is expected of them. This study looks at how these pervasive arguments make an impact on teachers who, although studied as artists and trained to teach art, now find themselves dubbed ‘art and design’ teachers as the requirements of the state and its increasingly utilitarian system exerts more control over their working lives. More than twice as many art graduates (3.4% of fine art graduates in 2016) enter teaching than design graduates (1.3% design graduates in 2016) (Logan and Prichard, 2016). A piece of qualitative research was completed with a combined sample of 23 teachers. Building on Efland’s streams of influence underpinning the development of art education: Expressionist, Scientific Rationalist and Reconstructivist; and Hickman’s rationales for art education: Social Utility, Personal Growth and Visual Literacy, a tentative theory is proposed and hypotheses explored. Some teachers questioned revealed sadness at a perceived reduction in time for lessons devoted to self-expression, art history, cultures, critical evaluation, experimentation, imagination, risk taking, and creativity. Some teachers felt deeply that they and their subject is misunderstood, undervalued and under threat. Many 2 were not comfortable with a role that was at variance with the one they had been trained for. Some teachers suggested their role was no longer concerned with developing children’s individual talents but had become too design-based, too predictable, too linear, and too concerned with measurable outcomes and results. Capturing the words of 23 teachers in interviews and surveys contributes to the literature and provides teachers, policy makers and future researchers with vital insights into what an art teacher is and why they teach art, and how this is at variance with National Curriculum aims. These insights are vital because the present lack of consensus about such fundamental arguments has contributed to a devaluing of art in the curriculum to a point where the future of art in state-funded secondary schools is no longer guaranteed. 3 Acknowledgements I would like to offer my sincerest gratitude to Professor Helen Burchell and Dr Eddie Blass, who saw potential in a naïve, young man, overflowing with assumptions. To my principal supervisor and friend, thank you also to Rosemary Allen, who picked me up at my low points, made me laugh and never stopped believing in this research. I must also thank the rest of the team: Dr Kit Thomas, for enduring my ramblings at the start, Dr Joy Jarvis, for being a world of calm, and to Dr Oscar Odena and Dr Jon Berry, who knocked me into shape. Also to all my colleagues for putting up with my endless mention of ‘the Doctorate’ – it’s done now! Other sincere thanks must go to the volunteer participants for making this study possible. Finally, to my family, my mum and dad, sisters, wife Mirian, and little girl Emily, who have sacrificed so much to make my goal achievable and who never stopped believing, thank you. 4 Table of contents I. Abstract II. Acknowledgements III. Table of contents IV. Index of figures & tables V. Glossary of terms Chapter 1 About this study 1.1 Introduction 11 1.2 What this thesis is about 11 1.3 The context of the study 11 1.4 Who the researcher is and why this research is important to him 14 1.5 The main questions that the thesis sets out to address 16 1.6 Conclusion 18 Chapter 2 Literature review 2.1 Introduction 19 2.2 Art education and the role of the art teacher in the pre-Second-World-War period 19 2.3 Art education and the role of the art teacher in the post-Second-World-War period 24 2.4 Subject-centred and discipline-centred 29 2.5 The National Curriculum 35 2.6 Pertinent studies into the role of the art teacher 46 2.7 Traditional concepts of artist and artisan and designer and craftsperson in art education in England 56 2.8 Liberal and utilitarian aims of art teaching 58 2.9 Conclusion 61 2.9.1 Summary of what the literature reveals 62 5 2.9.2 Questions raised by my reading of the literature 62 2.9.3 The aims of the research 68 2.9.4 The conceptual framework for this research 69 2.9.5 The three imperatives model 73 Chapter 3 Methodology 3.1 Introduction 78 3.2 Approach to research 78 3.3 Participants 80 3.4 Sample of teacher participants for interviews 80 3.5 The teacher participants for surveys 81 3.6 Data collection methods 83 3.7 Semi-structured in-depth interviews 83 3.8 Online surveys 85 3.9 Validity and reliability – transferability and dependability 87 3.10 Introduction to data analysis 89 3.11 Rationale for data analysis 89 3.12 Procedure for data analysis 89 3.13 Limitations 91 3.14 Ethical considerations 91 3.15 Conclusion 92 Chapter 4 Presentation of responses from interview and survey data 4.1 Introduction 93 4.2 What was your preparation for teaching art and design? 93 4.3 What is the difference between an art teacher, a design teacher, and an art and design teacher? 93 4.4 How does being required to teach both art and design affect your teaching? 94 4.5 What is the department known as within the school? Art department, design department or art and design department? 95 6 4.6 When you are teaching art, do you work in an art room, a design room, or an art and design room? 95 4.7 How are you identified by colleagues? As the art teacher, the design teacher, the art and design teacher? 95 4.8 Do you feel aspects of the subject may have been lost as a consequence of the dual role? 96 4.9 Do you think art teachers being required by the government to teach both art and design means extra work for teachers? 97 4.10 Do you think art teachers being required to teach art and design improves the art component? 97 4.11 What effect does the requirement to teach art and design have on you? 98 4.12 A stated priority in education is to get pupils into jobs. Do you think this affects your teaching? 98 4.13 Should art education be prescriptive; yes or no? 99 4.14 Of the schemes and projects you have taught, how many have as their CHIEF aim and not as a by-product a child’s self-expression? 99 4.15 Of the schemes and projects you teach or have taught, how many have as their CHIEF aim and not as a by-product the appreciation of the work of other artists? 101 4.16 Do you view your job as primarily educating children to be artists, appreciators of art, well-rounded citizens, workers or other? 101 4.17 Online survey data 102 4.18 Why did you become an art teacher? 103 4.19 What are the top 3 priorities in your teaching role now? 103 4.20 Following the EBacc, what has been its impact? 104 4.21 Do you think taxpayers should fund art education? 105 4.22 Conclusion 106 Chapter 5 Analysis and discussion of findings 5.1 Introduction 107 5.2 Liberal Imperative 108 5.3 Utilitarian Imperative 114 7 5.4 Is the role more utilitarian than teachers envisaged? 117 5.5 Social Imperative 119 5.6 Conclusion 126 Chapter 6 Summary, contribution, and recommendations 6.1 Introduction 129 6.2 Summary of findings 129 6.3 Questions from chapter 130 6.3.1 What happens if art teachers find themselves being required to teach a subject they do not identify with? 130 6.3.2 What if teachers view the addition of design-based approaches with their inevitable connection with utilitarian rather than liberal aims, a threat to cherished liberal child-centred pedagogies? 133 6.3.3 What if the redefined role requires a redefinition of what teachers are and why they teach art? 134 6.3.4 What if teachers do not know what is expected of them? 135 6.3.5 What if teachers teach the same way as they have always taught within the new utilitarian regime? 136 6.3.6 How is teacher training for art and design different from art? 137 6.3.7 Have serving teachers received this training? 137 6.3.8 What effect has teaching art and design had on lesson content, lesson aims, and outcomes? 138 6.4 Contribution to practice 139 6.5 Recommendations 141 6.6 Possibilities for future study 146 Reference List 147 Appendices 164 8 Index of figures & tables Figure 2.1 Mapping of art education literature within 3 imperatives Figure 6.1 Visual arts disciplines within 3 imperatives Table 3.1 Teacher participants for interviews Table 3.2 Teacher participants for surveys Table 4.1 Top 3 reasons for becoming an art teacher Table 4.2 What are the top 3 priorities of the role now? Table 5.1 Liberal and social priorities of art teachers Table.
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