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This paper, a critical examination of educational concepts, policies and practices, presents findings from research into the impact of accountability agendas on teacher professionalism and pedagogic practices. The study, theoretically framed through Halstead's notions of contractual and responsive accountability, and Gramsci's hegemonic practices, examined secondary arts teachers' pedagogical autonomy and professionalism in England and New Zealand. We provide an overview of current education policy contexts in both countries, and their impact upon secondary school arts education (years 11–16). Drawing from interview data from 15 England and New Zealand teachers, we offer a critique and innovative counter-narrative for the accountability measures currently dominating English schooling. Drawing together perspectives from both jurisdictions, we suggest more inclusive, democratic and responsive assessment and performative measures for the English context. [ABSTRACT FROM AUTHOR]

Ofsted, the inspection authority in England, has told schools to ensure that all students have access to cultural capital, taken as a canon of music, literature and art. In this paper, we trouble this guidance by analysing conversations with 1447 senior secondary students. The students reported that the arts offered considerable personal benefits, as well as creative self-expression (visual art) and vocational and networking skills (performing arts). By bringing Bourdieu to the dataset we offer a field analysis that shows how arts cultural capitals might follow the logics of the education field. We speculate that, despite the likelihood that these elite cultural capitals were not of equal value to all students, arts capitals and dispositions might support wider resistances to logics of practice in other fields. [ABSTRACT FROM AUTHOR]

Internationally, research documents a link between children's creative engagement in Arts and their experiences of positive wellbeing. Yet this is at odds with both the provision of Arts curricula in England's education system (which continues to decline including substantial cuts to resources and staff), and longitudinal research reporting a decrease in children's wellbeing. In this article, the authors present findings from a qualitative study conducted as part of a mixed methods project in a Secondary school in England exploring how performing arts curricula (dance, drama and music: 'PA') nurture pupils' hedonic and eudaimonic wellbeing. 11 pupils (aged 11–16) engaged in participatory creative projects as a means of expressing their PA experiences. Their projects served as a springboard for in-depth individual interviews. Thematic analysis revealed that Arts curricula are uniquely need-facilitating environments that nurture pupils' wellbeing in school. Pupils' experiences suggest that PA curricula positively impacted their eudaimonic wellbeing, satisfying their innate psychological needs of relatedness, autonomy and competence, as theorised in Self-Determination Theory. Pupils' experiences also underlined the benefits of Arts engagement for their hedonic wellbeing, including increased positive affect and providing a space for regulating emotions. Collectively, the qualitative and quantitative findings from this mixed methods project suggest some pupils engaged in PA are vulnerable, and Arts play a critical role in facilitating their wellbeing. The positive implications of retaining Arts curricula, versus the potential damage to pupils' wellbeing and wider engagement with school caused by continuing to devalue Arts, is discussed. [ABSTRACT FROM AUTHOR]

The article contextualises the emergence of the Feral Art School, established in Hull in 2018 by artist‐educators following the winding down of Hull School of Art and Design. This alternative art school is the most recent of many established in the UK since the government's Independent Review of Higher Education Funding & Student Finance or Browne Review. This article argues that the processes of 'economisation' enacted by this review have severely threatened the health of arts education in the UK, forcing the closure of provision and increasing barriers to higher education arts education for the disadvantaged. This article uses the example of Feral Art School to demonstrate how provincial art schools might re‐emerge in new, counter‐hegemonic forms. The Feral Art School is run as a Community Interest Company (CIC) with cooperative values. We argue that these values extend to the philosophy of education underpinning all of Feral's activities. [ABSTRACT FROM AUTHOR]

Education increasingly operates in neoliberal terms; privatisation, marketisation and competition have become key drivers for schools in England. This article explores the findings from an ethnography that points to how arts education practices are being used to 'art‐wash' schools resulting in parents with the requisite economic, social and cultural capitals ensuring that their children benefit the most from a creative education. Whilst most of the narratives on artwashing have so far focused on arts institutions and global capital, this article questions how some of the specific processes of gentrification may be extended to the current education system in England and ask if schools and arts organisations may increasingly be 'art‐washing education'. [ABSTRACT FROM AUTHOR]

In 2017 Hull has been designated UK City of Culture, a bid it won on the promise of 'coming out of the shadows'. But in its recent past Hull has been very much in the spotlight in the area of time-based art. This article looks at the emergence of this activity in Hull in the late twentieth century, and in particular the role of the artist-led organization Hull Time Based Arts (HTBA). Examples of HTBA's programme are discussed in order to understand the significance of this organization and in particular its programming of political, formal and community specific artworks. The wider issues of community, funding and arts education are also discussed as crucial factors underpinning artist-led activity in a city. [ABSTRACT FROM AUTHOR]

Achieving independence appears to be a significant concern for education. This is particularly evident in discourses pertaining to art education in England where the aspiration to become independent appears to be synonymous with successful learning. Drawing on disability studies and more specifically crip theory, this paper offers a Critical crip Discourse Analysis of documents reporting on the quality of art education in England. Here the independent learner emerges as a desirable norm and pupils with special educational needs are made visible through their apparent dependency. As a consequence of this emphasis on independence, dependency is framed as exceptional, undesirable, burdensome and valueless in pedagogic terms. Acknowledging the dominance of independence as a culturally determined fiction frees us to acknowledge problematic depictions of dependency and enable us to create alternative pedagogies that recognize the role of interdependence in learning with and through art. [ABSTRACT FROM AUTHOR]

London's Victoria and Albert Museum, the UK's national museum of art and design, recently created a new centre for public learning through creative design. The development process was key to the project, which has resulted in one of the most innovative and attractive learning spaces in any museum today. Research, consultation and collaboration, involving the people who are going to use the building and the architects/designers from the outset, has been an approach that has worked very successfully. [ABSTRACT FROM AUTHOR]

The article focuses on the author's insights regarding the fragments that had emerged during a meeting convened by Cathy Turner for various writers in Winchester, England. The author concerns arts degree students in higher education who wonder who they are what they are for, and presents his imaginary electronic mails to Hans-Thies Lehmann addressing such issue. Subjects of the author's imaginary electronic mails include the post-traumatic theatre and the magic tools are offered.

Presents a survey focused on the perception of teachers and class teachers regarding the arts curriculum in the primary schools in England, funded by the Local Government Association with support form the Esmée Fairbairn Foundation and the Ernest Cook Trust. Perceptions of the teachers and class teachers of the levels of support for arts teaching from outside their own school; Purposes for teaching the arts; Survey about the currently available time for arts teaching.

This research report describes the development of dance attitude scales which were 'grounded' in the opinions of groups of 11-16-year-old pupils in six schools throughout England. Factor analyses involving an initial sample of 368 male and female secondary school pupils produced four embryonic scales which were then tested with a sample of 1,668 adolescents. Satisfactory internal reliability coefficients were achieved and scale intercorrelations provided evidence of the scales as distinct measures. Further analyses undertaken to test validity employing data from the larger sample indicated that two of the proposed scales, Ballet and Male Dancers, may be valid measures of attitude, although less confidence can be placed in the third and fourth scales. Suggestions are made for the development and application of the inventory. [ABSTRACT FROM AUTHOR]

The article focuses on the formation of creative arts department at Southfields Secondary School, Wandsworth in London, England. The idea of combining all forms of expressions like drama, music and painting to develop creative communication is discussed. Information about staff and pupil of the school and the growth of creative arts department is presented. The facilities for art, music, drama and photography in the school are discussed. The art demo lessons, group teaching classes, schedules and weekly meetings for development of creative arts are discussed. It is reported that the contents of demos are varied and interesting. Emphasis is given on pupil participation, entertainment, integration of activities, cooperation of staff and teachers and public arts activities.

The article focuses on the first etching works of Frank Brangwyn. The author claims that, through the exhibition at the William Morris Gallery held at Walthamstow, England, last October 2006, it was revealed that Brangwyn has already started etching at the age of 15. His very first piece is the unpublished "The Bridge," a view of the wooden bridge at Putney which measures 67 x 106 mm and is dated 1882. The two prints then followed, with dates as late as the 1940s. One print is another view of Putney Bridge, but is viewed at a much closer distance and measures 125 x 175 mm. The second, meanwhile, is the a view of shipping which measures 107 x 155 mm. These two prints, further, are recorded in Norah Gillow's "Catalogue of the Works of Sir Frank Brangwyn, R. A., 1867-1956."

This paper describes the implementation and evaluation of the use of video as a method of delivering feedback to students taking certain practical art and design modules, as part of their first degree programmes at De Montfort University. Initially tested within Lens Based Media photographic modules, the results were such that video was considered to enhance a feedback process that referred to visual imagery, as well as offering students comparative feedback on their own performance. Further tests were undertaken, with an Interior Design module, to investigate the effectiveness of video in assessment procedures that included both two and three dimensional work. Insights are also given into various perceived improvements that this use of video can offer art and design education. These include the freeing up of staff time for individual tuition and creative work, a rapid speed of turnaround between assessment and distribution of the feedback to students, and a method of alleviating problems associated with the storage of student work. [ABSTRACT FROM AUTHOR]