A Manifesto for Art in Schools

Abstract

PrefaceThis manifesto bases its suggestions on a postmodern view of art in education with an emphasis on difference, plurality and independence of mind. The proposals derive from the rationale and argue for more decision-making and autonomy for teachers and learners within a climate that emphasises and expects enquiry, experiment and creative opportunity. For this to happen the subject matter of art, ways of approaching it, and improved means of encouraging diversity and innovation must be developed. This implies that the values within the current statutory Orders for Art, the initial education and in-service development of teachers, and the nature and purpose of assessment must be reconsidered. This manifesto addresses the areas that impinge on the activity of art in schools, makes critical comment on the effect of current ideology and practice, and provides a rationale and proposals for its implementation. RationaleThe rationale is based on three fundamental principles: difference, plurality, and independent thought. Through their application in © NSEAD, 1999 art practice and theory, knowledge and knowing will become understood as a negotiation of ideas which arise from asking pertinent questions, and testing provisional answers rather than seeking predetermined ones. The emphasis is on the learner and learning, negotiating what they learn, learning how to learn, and understanding knowledge as a multiplicity of changing hypotheses or theories which are subject to evidence, proof, argument and embodiment. As such difference becomes a locus for action and discussion at a personal and social level, plurality points to a variety of methods, means, solutions and awareness for any issue, and independent thought develops individuality, the capacity to challenge, and creativity through introspection into the nature of learning and teaching in art. These abilities are as vital for teachers as they are for learners.

Why a Child Needs a Critical Eye, and Why the Art Classroom is Central in Developing it

“…This recognises what art education truly involves and forces a re-examination of persistent, historicised concepts of art education as a discrete subject that is preoccupied with modernist studio practices alone. Critical reviews of the UK arts curriculum undertaken over the last decade (Hughes 1998;Swift & Steers 1999) discuss a resistance, variously from curriculum reformers to teachers, to embracing philosophical and pedagogical change. As Mansfield (2003) suggests though, if arts education continues to be regarded by stakeholders through a positivist, modernist lens then the examination of visual culture will happen elsewhere in the curriculum and the critical engagement that the arts continuously makes with contemporary culture will be undervalued and undermined.…”

Liberal Ideals, Postmodern Practice: A Working Paradox for the Future of Secondary School Art Education in England?

“…In 1999 Swift & Steers made a bid to affect change: introducing a postmodern manifesto to re‐establish relevancy in the art classroom. The authors wanted art education to ‘integrate with the current and future interests of learners and of society in ways that are meaningful’ (Swift & Steers , 25). Keen to identify knowledge as a ‘negotiation of ideas’ (Swift & Steers , 17), they also naively, if customarily concomitant at the time (Jameson ), allowed neoliberal motivations to pervade their document in suggesting, ‘art also contributes to the key skills valued by employers’ (Swift & Steers , 18).…”

InSEA: A Brief History and a Vision of its Future Role

“…In a recent paper in this journal, John Swift and I argued for a curriculum firmly founded on three fundamental principles: difference, plurality, and independent thought. [21] We emphasised the importance of knowledge of art practice and theory as a basis for the negotiation of ideas -ideas that arise from asking pertinent questions, and testing provisional answers rather than seeking predetermined ones. We talked of learners negotiating what they learn, learning how to learn, and understanding knowledge as an ever-changing multiplicity of changing hypotheses or theories which are subject to evidence, proof, argument and embodiment.…”