Tag Archives: creative arts

Labour’s determination to recruit new teachers doesn’t include music

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‘Now, when I think back to my school days, when I think of the happy memories. It was all about the teachers I had along the way. 

The ones who helped me succeed are the ones who made me feel like I belonged. 

That’s why I am determined to help you recruit and retain more great teachers in your schools.  

And to encourage more people to get into the profession, what’s why we have set out today the new initial teacher training incentive. 

I want more great teachers in our schools, working their magic. 

And it really is magic – what they do, what you do. 

Don’t ever let anyone tell you otherwise. 

And I certainly won’t let anyone tell me otherwise. 

You have the wonderful power to transform lives. 

To give to children the knowledge and skills they need to succeed, not just in work, but in life too. 

Extract from Secretary of State for Education’s speech at RISE Attainment Conference.’ Education Secretary speech at RISE attainment conference – GOV.UK

With respect, Secretary of State, what about Music teachers? The bursary for the subject has been removed for those applying to train in 2026. This is despite the likelihood of the number of entrants to ITT courses this autumn not meeting the ITT target set by the DfE. With the cuts in music courses at universities, competition of the remaining graduates is likely to intensify as the arts sector continues to contribute to increasing the national wealth.

It is not as if missing the ITT target in music is something new.

ITT census% of target recruited
2019/2080
2020/21122
2021/2271
2022/2362
2023/2427
2024/2540
2025/2565

Source: DfE ITT censuses

Presumably, the DfE is hoping that the AI revolution that will remove many existing graduate entry level jobs, will create a similar situation to the covid pandemic that drove graduates back to choosing teaching as a career. Will this be true? Only if the universities are producing the same number of new graduates, since potential career changers may already be in jobs less threatened by AI?

The text of this 2024 article suggests that new graduates in music may be harder to find than in the past Full scale of university arts cuts emerges – Arts Professional

My message is simple, the bursary should not have been removed for music, and possibly other arts subjects as well. However, the DfE should monitor applications for September 2026 training and, if by February, they are showing a failure to meet the target again in 2026, then the bursary should be reintroduced.

By the way, I have a simple formula for monitoring applications against target that I used for over a decade when UCAS managed the ITT application process. I might start using it again when the 2026 applications are revealed each month.

My reason for picking on music for this post is that I have just been invited to take over the role of Chair of Oxfordshire’s Music Hub Board.

UK Music Talent pipeline concerns

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UK Music, is the industry-funded body established in October 2008 to represent the collective interests of the recorded, published and live arms of the British music industry.

To quote from their website, UK Music promotes the interests of record labels and music publishers (major and independent), songwriters, composers, lyricists, musicians, managers, producers, promoters, venues and collection societies through collective representation. https://www.ukmusic.org/about/

At the Liberal Democrat Conference this week UK Music published a pamphlet entitled ‘Securing our talent pipeline’ https://www.ukmusic.org/news/securing-our-talent-pipeline

As they acknowledge, the UK music industry is doing well at present. It grew by 6 per cent last year and is now worth £4.4 billion to the economy with the live music industry contributing around £1 billion. However, that is exactly the time to reflect on the future.

UK Music say that while the immediate outlook is promising, there is growing evidence of a looming crisis in the music industry’s talent pipeline – a pipeline that they rely on for future stars and one that is a vital part of their industry’s eco-system.

Schools form an important part of developing that talent pipeline, so I thought I would take a look at the evidence from TeachVac, the vacancy site for teachers where I am chair of the board. www.teachvac.co.uk about recruitment and the supply of teachers of music.

The headline statistic is that music in our schools, as a classroom taught subject, is more of a shortage subject than mathematics. Sadly, TeachVac doesn’t keep data on instrumental and other specialist music teaching at this point in time.

Despite cuts to the curriculum in state funded schools, there have been more than 600 vacancies for main scale classroom teachers recorded so far in 2018 by TeachVac. This is slightly down on the 632 vacancies recorded by this point in 2017, but not significantly so. The previous two years, 2015 and 2016 recorded around the 550 vacancies mark by this point in September.

Allowing for better coverage in 2017 and 2018 by TeachVac, there doesn’t seem yet to have been a collapse in demand for classroom teachers of music. However, there are significant regional differences. Around half of the vacancies recorded in 2018 were from secondary schools in either London or the South East, the regions with the largest concentration of independent schools and the best funded state schools. Relatively few vacancies have been recorded from schools in the North East so far in 2018.

The real cause of any shortage of teachers of music is the failure of the DfE to attract enough trainee teachers of music over the past few years, and especially for entry into teacher preparation courses in 2017. Last September, the DfE estimate in the Teacher Supply Model was for 409 music teachers; 295 were recruited according to their census of trainees. This year, by the middle of August, potential trainee numbers were slightly below the same period in 2017 and on target for around 280 trainees overall.

Allowing for failure to complete for various reasons, this means the number of new entrants in 2019 could be in the range of 250-275 for the 4,000 or so secondary schools across England. Turnover would need to be as low as five per cent to ensure sufficient new entrants, even assuming the distribution across the country was as required: an unlikely situation.

So, music may well be a subject of concern in 2019 and UK Music are right to worry about the long-term consequences for their industry and the UK Economy.

 

 

 

Leaving the arts behind is a risk

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My apologies to regular readers for the absence of any posts over the past few days, but I was at the Lib Dem Conference in Bournemouth over the weekend and have been catching up on local matters since returning.

Earlier this week EPI, The Education Policy Institute, published an interesting report into ‘Entries in Arts Subjects at Key Stage 4’. https://epi.org.uk/wp-content/uploads/2017/09/Entries_to_arts_subjects_at_Key_Stage_4.pdf Authored by their researcher, Rebecca Jones it paints a depressing picture of falling numbers of entries, even after allowing for the recent decline in the secondary school population. In 2016 there were the lowest number of entries in a decade.  Provisional data relating to 2017 exam entries indicate that the decline observed in the most recent years is continuing

The fall came after a period of increasing entries up to 2013. How far the government’s determination to push the EBacc has caused the fall is a matter for discussion, but the idea of concentrating on a wider measure, such as Progress8 or Attainment8 could well offer a possible way forward to halt the decline.

According to the EPI report, there is a clear and consistent North-South divide in entries to arts subjects, with Southern regions showing higher entry rates than Northern regions. In 2016, the North East experienced a particularly sharp drop in arts entries. The proportion of pupils entering at least one arts subject now ranges from 57.3 per cent in the South West region to 47.8 per cent in the North East, a gap of 9.5 percentage points.

An interesting finding by the EPI team was that before 2013, pupils with high prior attainment were more likely than those with medium or low prior attainment to enter at least one arts subject. This pattern has since been reversed, and those with medium or low prior attainment are now more likely to have at least one arts entry. In 2016, the gap was 3.5 percentage points (54.4 per cent for pupils with medium and low prior attainment, compared with 50.9 per cent for those with high prior attainment).

EPI also found that there is a very large gender gap in entries to arts subjects. In 2016, 64.7 per cent of girls took at least one arts subject, compared with 42.5 per cent of boys, a gap of 22.3 percentage points.

There are substantial gaps in arts entries between pupils from different ethnic backgrounds. Black Caribbean pupils have particularly high entry rates, whilst pupils from Indian and Pakistani backgrounds are much less likely to have at least one arts entry than those from other ethnic groups. I wonder whether the examination boards need to look at syllabuses to see whether they are attractive to those from a wide range of cultures.

For the purposes of the EPI report, arts qualifications were defined as those relating to the following subject areas: art and design; drama and theatre; media, film, and TV studies; music; dance; and performing arts. The EPI analysis does not classify design and technology as an arts subject. Design and technology was excluded from the category of arts qualifications in the EPI report because it includes subjects which have very little overlap with the arts, such as systems and control, and electronic products. It is also categorised separately from art and design in official publications by the Department for Education, including the national curriculum and statistical releases. However, it seems likely that design and technology may have suffered in the same manner as arts subjects since Ebacc was introduced. The government certainly does not seem to fully appreciate its importance in the school curriculum.

The details of the EPI report are of interest to those with concerns about the details. However, the headline finding should concern everyone interested in the role of education in helping to create a civilized society.

 

Counting the cost of Creativity

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There has been discussion this week around the possible consequences for creative subjects in schools as a result of the Tory Government’s push for more pupils to study the EBacc subjects. As there is no creative subject in the EBacc list, any push to widen the scope of that group of subjects could have a disastrous effect on those curriculum areas left out of the EBacc grouping.

Does it matter? Of course it does. While the idea of Progress 8 that was championed by the Liberal Democrat part of the former coalition recognised the worth of creative subjects, the present government clearly prefers geography to art and history to music and anything it seems to design and technology.

However, these creative art subjects and the associated performing arts subjects are an important part of both what makes England what it is and of our wealth generating industries. The latter is a fact it seems completely overlooked at the DfE, at least at ministerial levels. But, think of the earnings from our rich music culture that spans the gamut from popular to experimental. For a number of years I was invited to the Schools Prom every November and witnessed both a transformation in the range of music on offer and also in the diversity of schools encouraging a love of music in their pupils. Perhaps my most abiding memory was of a Norfolk Middle Schools marching round the stage of the Royal Albert Hall and containing pupils of all abilities. Do we really want to lose this heritage? Do we really want to ignore the possibility of enthusing those that could go on to create activities that support our national wealth in the future? Surely not.

The same arguments can be made for other subjects and especially, as I have pointed out before on this blog, for design and technology. Whether it been food preparation, sowing and textile design, electronics, carpentry or even the evolving use of 3D printing technology in new and creative ways, these are all important to generate enthusiasm in young people; have you read the piece on the BBC web site about using a 3D printer technology to create new food arrangements?  Even more importantly, these are areas of significant wealth generation and we impoverish future generations by not understanding this.

In the year we recognise the mid-point of the centenary of World War One, I don’t denigrate the importance of history, but merely observe that culture and creativity can be as important in the education of future generations.

As regular readers of this blog might expect, I am not just relying upon sentiment or even the economic arguments to make the case that these subjects are under threat, but have had a look at the TeachVac data. In the first six months of 2016, TeachVac has recorded a 24% fall in advertised posts for main scale teachers of art and design; a 17% fall in advertised posts for design and technology and an almost unchanged level in demand for teachers of music. Since TeachVac figures include both State Funded and independent schools it maybe that the decline in advertised posts is even greater in the State sector; we haven’t yet had time to drill down through the data.

To remove the creative subjects from our state secondary schools would be nothing short of a national disaster.