The Guardian gushes: At a time when arts are squeezed in some schools, teachers are embracing them as a tool to teach the environment without realising it is this insidious belief that the arts are merely a pedagogical tool that is leading to a paucity of engagement with great art.
The tragic figure of the starving artist in the garret eking out an existence is such a romantic image that it has informed great works of art like Henry Wallis’s ‘The Death of Chatterton’ and Puccini’s sublime La Boheme yet in the future our art will be a dreaded commercial enterprise trying to turn people into environmental warriors.
‘At primary school children are ‘learning songs about climate change and the environment… It’s a fun way to learn… we learn the ‘compost and growing’ song and produce artwork in relation to it, too. The arts and other curriculum areas are continually connected. Teaching the children to be sustainable has nice science, humanities and responsible citizenship links.’
Instead of singing the ‘Ode to Joy’ these children are singing odes to compost.
Instead of making pots inspired by Grayson Perry or Bernard Leach children are making:
‘footballs out of recycled paper, carrier bags and elastic bands, and they discuss global issues around poverty, fairness and fair trade…’
Instead of wrestling with Sophocles, Shakespeare and Sarah Kane pupils are engaged in:
“farmer drama” sessions have been encouraging students to put themselves in the position of those working within the supply chain.
Now of course Sarah Kane isn’t suitable for primary children, nor for adults if the Daily Mail review that called her first play a ‘disgusting feast of filth’ is to be believed. But primary schools are essential breeding grounds for artists and audiences, future amateurs and professionals and also the foundations for what Chesterton called the ‘soul of a society’. By embedding the arts in the service of farmer drama and compost songs, and by hiding real art in project based learning, children will not know the deep truths that making difficult art can uncover. This starts young, with specialised art teachers teaching art, to children, as subjects in their own right.
In primary schools pupils should have art, music, drama and dance lessons and not only in the service of the rest of the curriculum. If teachers want to teach ‘the whole child’ then do this through the depth of study not merely by ticking some breadth boxes in the name of arts coverage as ‘a useful tool in explaining subjects that may otherwise be considered complex or inaccessible’