Introduction

In the wake of recent media attention, the United Kingdom's Higher Education Regulation Body released a statement in May 2021 regarding their proposal to cut funding in Art and Humanities (A&H) subjects (Adams & editor, 2024). These are the courses that the government sees as “Mickey Mouse,” as they are subjects that are seen as ‘low value’. I have currently been teaching A Level Photography at a sixth-form college within the lifelong learning sector. Lifelong learning is defined as education or skills that are not part of compulsory education (Cheary, 2017). In this essay, I will address the devaluation of art and design and emphasise the imperative need for their inclusion in the A Level Photography exam paper. Specifically, drawing on the Equality Act (2010) to address the inequalities within art and design. I have also addressed the need for teaching beyond the curriculum, drawing on Roland Barthes's ‘Camera Lucida’ and his idea of a punctum and stadium.

 

Understanding the devaluation of Art and Design

Throughout history, art and design have been seen as a culture for humans, allowing them to express their reflections on values, creativity, and the process of innovation. However, since the Industrial Revolution art and design shifted in its value due to economic, cultural, and political factors (Willetts, 2020). The Industrial Revolution brought changes in the economy, society and technology shifting the relationship between art and design and industry (Allen, 2009). The Industrial Revolution involves the transformations of social, economic, and technical shifts that started in the late 18th century to the present day. According to Duignan and Leong, (2019), the industrial revolution is categorized into four stages: 

1. The first industrial revolution consisted of the development of machinery and coal in the 18th to the beginning of the 19th century, this then changed the economy.

2. The second industrial revolution saw technology advancements in industry’s which helped the emerging of gas, oil, and electricity with the 19th century.

3. The third industrial revolution started in the second half of the 20th century. This saw the rise in technology, electronics and computers and The Internet.

4. The fourth industrial revolution is the modern-day era categorised by the rapid advancement of digital and technical transformations. The rise in artificial intelligence, automation, social media, camera phones, is re-shaping industries and society worldwide.

 

With the rise in the need for mass production and machinery led the focus to disciplines such as Science, Engineering, Technology and Mathematics (STEM), which devalued Art and Design as a subject which is now seen as a luxury.  The perception of art and design being seen as a luxury stem from cultural attributes that priorities academic rigor and economic growth. Research such as Goeters (2000) explains that art education offers a vital role to young people as it fosters creativity and divergent thinking skills. Hetland (2013), suggests that pedagogies within art education allow young people to build critical thinking skills since students are constantly analysing creative artwork. The devaluation of art and design disciplines has resulted in less funding being given to art and design education (Belifore 2002). The lack of funding results in students not having access to quality art education and sustains disparities in equal of opportunities within education (Catterall, 2012).  In 2021, Gavin Williamson announced that there would be cuts to art and design education by 50% to focus on subjects that are ‘high-value courses’ (Weale, 2021) This approach aligns with the economically driven agenda of prioritizing STEM subjects, further devaluing art and design subjects. The underfunding of art education worsens the inequalities in access to equal opportunities, affecting students from disadvantaged backgrounds.  According to research, art, and design education within schools, those communities that are from a disadvantaged background, have inadequate resources and funding allocation (Hetland et al., 2013).  The limited resources can limit a student’s ability to be able to explore their creativity, and engage them in meaningful artistic expression, preventing them from valuable learning experiences.  

 

As a trainee teacher teaching photography, I believe that all students should have equal opportunities to study art and design subjects. Students from all backgrounds, identities and abilities should have the opportunity to foster their creativity, regardless of their socioeconomic background. Throughout my time on placement, I have realised the importance of inclusivity within the classroom, ensuring that all students are provided with the same opportunities.  My placement has taught me the value of inclusivity within the classroom, whether that is through adaptive teaching methods, providing examples of a diverse range of photographers, or embracing cultural diversity within the curriculum. 

 

The need for inclusion, social and cultural diversity

Upon reading a recent article highlighting the lack of ethnic minority representation within the General Certificate of Secondary Education (GCSE) Art and Design examinations, I decided to investigate the framework of Advance Level (a level) Art and Design exam boards specifically focusing on A Level Photography to see if the data is similar.  

 

According to a recent report, which analyses GCSE exam material from exam boards like AQA, OCR etc less than 3% of artists that were named are Black or South Asian artists (Banfield-Nwachi, 2024). This report was by Runnymede Trust thinktank and Freelands Foundation, an arts charity. The lack of standard guidance within the GCSE Art curriculum elucidates that the inclusion of artists from ethnic minority backgrounds persists as a challenge. This is due to the lesson content being set by subject teachers. The key stage 3 national curriculum for Art and Design states that “great artists, craft makers and designers, and understand the historical and cultural developments of their art forms (Department for Education, 2013)”, however, this does not have any further definition or exemplars.  This is also like key stage 4 guidance, where art and design are no longer considered as compulsory education (Ofsted, 2023). Even within GCSE, there is still no guidance from the Department of Education (DfE), for what artists should be part of the curriculum (Banfield-Nwachi, 2024). 

 

 Regarding A level, there is no national curriculum (TES, 2023). Therefore, the assessment criteria of the examination boards determine the content taught, rather than a governing body. Like key stage 4, the subject teachers decide the content of the lessons. 

 

Throughout my teacher training, I have learned the benefits of inquiry-based learning (EBI) within the classroom. RBI allows the students to take a student-led approach, which enhances their learning experience (Brown 2003, as cited by Shreeve et al., 2010). EBI naturally fits into the art and design curriculum, which is a pedagogical strategy that I am going to use within my own classroom. For example, students in art and design are constantly hands on learners, and EBI allows them to think and develop their own ideas and questions in more creative ways. This is why promoting a diverse range of artists is important, as it allows students to explore different perspectives. 

  

As previously mentioned, I investigated to see if the issues were similar in the A level Photography examination paper. Specifically, focusing on Pearson Edexcel exam papers. I explored the referenced artists within the Photography section of the exam papers of 2019, 2020 and 2021 and I categorizing them into the following: Female, Male, White, Black, and Southern Asian. 

  

Here is what I found:

1. 2019:

Female 12%

Male 88%

White 100%

Black and Southern Asian 0 %

 

1. 2020

Male 77%

Female 23%

White 90%

Black and Southern Asian 10%

 

 

 

 

 

1. 2021

Female 25%

Male 75%

White 90%

Black and Southern Asian 10%

See Appendix 1 for further results. The results collected from the three years of exam papers shows us that there is the same issue concerning the lack of ethnic minority artists that are represented within exam papers, mirroring the concerns from the research recently conducted by Runnymede Trust thinktank and Freelands Foundation regarding the GCSE. The lack of underrepresented female artists is not a surprise since photography is a male dominated field. However, 80% of photography graduates are female (Buchholz, 2023).    In 2019, you can see that there is zero Black or Southern Asian artists representation within the exam paper but in 2020 and 2021 there is a 10% increase in artists, showing a shift of incorporating diverse artists. But it still raises the question that there is still a need to promote ethnic diversity and inclusion within art education? 

 

Having an exposure of artists from diverse backgrounds engages students with different artist expressions. By considering the historical, socioeconomic, and political context of the artist, it allows students to understand the different social justice, power dynamics and identities within art (Larsen et al., 2016). If the exam boards include a diverse background of artists, it would send a powerful message to the students about the value of different perspectives and voices within the art community. It would also challenge the stereotypes and inequalities of the underrepresented groups within the art world. 

 

A curriculum that promotes equality and inclusivity, allowing all students to see themselves reflected within it. According to Sleeter et al., (2008), having a diverse and inclusive curriculum allows students to see themselves within the content taught. This promotes a student’s sense of belonging.  The hidden curriculum is also important to consider, as it encompasses the values, beliefs, and norms that are implicitly taught through the educational experience.  According to Philipp Jackson (1988), the hidden curriculum is what content educators teach without even realising, whether that is through modelling or the content that is being taught, it involves values, beliefs, and norms (as cited by Betkowski, 2023). Durkheim discussed that society could not function without a high-level representation of themselves in the education system (Thomson, 2017).  The concepts of the stadium and the punctum, introduced by Roland Barthes in the book ‘Camera Lucida,’ provide insights into how personal elements of images evoke emotions (Barthes, 1993). The hidden curriculum imparts indirect values and messages that the main curriculum does not address for students. Barthes’ ideas of the stadium and the punctum can also relate to the ideas of the hidden curriculum and how it can help with the formation of the student identity. Barthes defines the stadium as the social, cultural, and political meanings of a photograph (Barthes, 1993). The stadium embraces the message of an image to its cultural purpose allowing the viewers to look at a photograph from another perspective (Barthes, 1993). This is how the main curriculum can be differentiated from the stadium since the main curriculum is structured and has objectives that can be assessed and identified. On the other hand, the punctum allows the viewer to see the photograph from an emotional and personal level. This allows the viewer to have a personal response to the photograph. Similarly, the hidden curriculum includes values and norms that students do not learn from the main curriculum, affecting them on a personal and emotional level.

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However, according to Kelly (2009), the curriculum evolves around the skills and content that the students are expected to learn. Kelly defines the curriculum as a process and praxis, emphasizing how students engage with it beyond its content (Kelly, 2009). Praxis is where teachers use reflective practice and adapt their teaching methods, this highlights the importance of reflective practice in teaching. Further on in the essay, I explore reflective practice. Kelly's key concepts of the curriculum include discussing the need to challenge the values that underpin the curriculum (Kelly, 2009). This highlights the need to challenge traditional curriculum beliefs. Sticking only to specified content within the curricula can help students develop a sense of belonging by looking beyond the traditional curriculum.  Decolonising the curriculum is a process that challenges, recognises and destroys the White Male dominance of knowledge within the classroom (The University of Hull, n.d.). To decolonise the curriculum, therefore, means to challenge the outdated traditions to promote diversity and inclusivity within art and design. This could be through educators providing students with artists and art movements that are from a diverse and inclusive background. Showing a diverse range of artists on exam papers can provide the students with the opportunity to feel as though they belong within the community.  Art education scholars have discussed the need for cultural induction within the classroom and the need for multicultural teaching (Howe & Lisi, 1995 as cited by Sions, 2019). Incorporating diverse voices and perspectives will enable all students to identify with the curriculum, promoting equality, diversity, and inclusion. 

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The Equality Act (2010) is a legislation within the United Kingdom that promotes equality, diversity, and inclusion. The Equality Act is important in curriculum development and beyond because it prevents discrimination against students based on the nine protected characteristics: age, gender, gender reassignment, race, sex, sexual orientation, religion/belief, marriage/civil partnership, and pregnancy/maternity. (Department of Education, 2014). The Equality Act connects with the art curricula as it promotes inclusive teaching methods that meet the needs of diverse students. This means using teaching strategies that engage students with cultural, socio-economic, and linguistic backgrounds.  As mentioned above, there is a lack of funding within art and design, which is one of the fundamental issues regarding equity and inclusion. Since the Industrial Revolution, there has been a noticeable division between the North and South of England. Stereotypes such as the North being the "working class" and the South being "posh" have affected the funding within education for art and design subjects. Schools in the South of England often gain more funding than in the North of England (ITV News, 2023). This educational inequality affects students attending schools within the North of England as the students will not have access to many resources and extracurricular activities such as museum artists' workshops.  The lack of resources and extracurricular activities prevents the students from enriching their educational experiences. Pierre Bourdieu argues that students from wealthy backgrounds (like the South) are more likely to have more knowledge on culture than students from deprived backgrounds (Burnell, 2015). This means that students from deprived backgrounds will lack the cultural capital parts, putting them at a disadvantage to other educational institutions that will have this cultural knowledge. Addressing these educational inequalities allows educators to create more inclusive and diverse opportunities for students from disadvantaged backgrounds.  

 

 

 

Reflective practice

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Throughout my teacher formation identity, one of the things that I have questioned is: what does professionalism mean to me as a teacher? Professionalism is hard to define as it is different in so many different contexts. For example, some define professionalism as an activity to which an individual is being paid rather than doing something voluntary (Demirkasımoğlu, 2010) whereas, others relate the term to a profession where you are respected (Kennedy, 2007).  In a traditional workplace, professionalism can be seen as respect for authority, smart dress attire, punctuality etc. (Mind Tools Content Team, 2022) Within education professionalism is important as teachers have the support of the public, parents, students, colleagues so showing that you are a professional in this context could build the trust of these individuals. ‘Showing’ that you are a professional could be through being punctual, acknowledging your strengths and weaknesses, your attire, going beyond your job role and more (Indeed Editorial Team, 2023).

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One of the professional ‘values’ that I disagree with as a teacher is ‘teachers should have a professional image and dress’ and believe that professionalism for teachers should be about the quality of teaching and the rapport you build with students rather than appearance.  Allowing employers to dress the way they want does not dismiss the way that the individual teaches.  The educator’s knowledge should be prioritized over the way someone dresses.

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One of my main and core values is quality. About teaching and learning, I believe that 'everyone, regardless of their background, should have a good education.  This also relates to the Human Rights Act of 1998, where the law says that ‘no child should be denied an education’ (Equality and Human Rights Commission, 2018). This act sets out the fundamental rights and freedoms that everyone within the United Kingdom is entitled to (Equality and Human Rights Commission, 2018).   This is one of the main values within my teacher identity. Therefore, make sure that no student is subject to stereotypes in education. As a teacher, I believe that making sure that every student is respected within education is crucial for providing them with an inclusive and supportive learning environment. This is one of my main core values that, throughout the formation of my teacher identity, I have upheld.

 

At the start of this teacher training year, I did not have many professional values in mind. However, as I became more exposed to the professional work environment, I have come to realise that I do have my own professional values. One of my values is integrity. Integrity is defined as complying with ethical and moral principles, honesty, fairness respect etc. (Mind Tools Content Team, n.d.).  At the start of the course, I had a basic understanding of integrity in teaching, such as maintaining appropriate relationships with students both in person and on social media. This is one of my values as an educator, which I believe is important, especially in the digital age. As well as protecting students’ privacy and ensuring a safe and inclusive learning environment. As the course progressed, I became more understanding of integrity within teaching such as being transparent and honest. Having integrity is now one of my professional values that I believe is important as upholding these ethical standards sets an example to students.  

 

From the start of my journey as a teacher I have fully believed in equity and social justice within education. Social Justice means that no child should be treated differently due to their background and all children should have the same opportunity (Tees Valley Education, n.d.). However, as I gathered more experience in education, I came to realize the inequalities within my art and design curriculum.  This is why I decided to investigate the exam boards and explore the inequalities within my own sector and inspired me to challenge these barriers. Throughout this discovery, I am determined to advocate diversity within the classroom and provide resources that would challenge these inequalities within the art and design sector.   

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Another professional value that I now believe is important is collaboration. At the start of the course, I did not think of this as a professional value until I started at my placement. My placement is part of a Trust. A Trust is ‘a group of educational providers that work together to maintain higher education across all of the sites (Confederation of School Trusts, 2024)’. Throughout my time at placement, I have collaborated with my colleagues within my team and with other colleagues working at different institutions within the trust. This has been through moderation, continuous professional development ect. This experience has shown me the importance of collaboration and that it should not just be with the colleagues you work with.  

 

Reflective practice can be defined by ‘learning through the experience’ (Finlay, 2008). There are various models of reflective practice such as (Dewey, Gibbs, Kolb and more) each of which use diverse ways of thinking to learn from experience (Cummins, 2022).  Each of these models of reflective practice offers us as professionals’ different ways of thinking. For example, John Dewy’s reflective model focuses more on the experience as a starting point and then offers a rational approach to problem solving within their practice (Rodgers, 2002) However, Graham Gibbs reflective cycle is easily accessible due to it being more structured with its different stages, making it more practical (The University of Edinburgh, 2020). 

  

There are many positives to why teachers should use reflective practice, such as it deepens their understanding and understanding as it allows them to see insights into their behaviors and constantly develop their practice. Additionally, reflective practice can also allow teachers to develop their critical thinking skills and professional growth. However, reflective practice can also have some negatives, for example it can be time-consuming for educators to reflect on their practice constantly as it requires time to engage with the process. Some teachers may also find reflective practice to be challenging as it shows their vulnerability and weaknesses in their practice. Reflective practice allows teachers to promote their understanding of their teaching quality (Beauchamp & Thomas, 2009) Meaning that Reflective practice allows teachers to challenge their personal philosophies of teaching, beliefs, and emotions (Walkington, 2005). The purpose of reflective practice is to allow you as a professional to reflect on their own strengths and weaknesses of their practice. Allowing educators to constantly develop their professional practice (Thompson, 2021). Farrar (2003) elucidates that pre-service teacher first year of teaching is a “sink or swim” experience. This is because the teachers need to explore their teacher identity.  

 

 Reflective practice encourages teachers to understand how they see themselves as a teacher (Suphasri & Chinokul, 2021). As I reflect on my journey as a first-year teacher, my values have evolved deeply by being influenced by mentors, colleagues, students, and my experience within the classroom. I believe that reflective practice has benefited me as it has allowed me to critically reflect on my practice as a trainee teacher and has constantly allowed me to improve my teaching strategies. This has come from reflective practice and getting feedback from others to improve my teaching. For example, at the start of my teacher training year, I struggled with voice projection, but through reflective practice, I was able to identify that this was an area I needed to work on and develop on my voice projection.  There have been times throughout the year when I have been busy and thought that reflective practice was not a priority, however, despite this being a negative view of reflective practice I believe it has been crucial for my professional growth. Through this self-reflection process, I have been able to develop my teacher identity.   

 

Reflective practice is also important in teacher professionalism. According to Schön (1994), reflective practice allows teachers to self-reflect on their teaching strategies and methods which allows them to identify areas of improvement. This process is tactic knowledge and can help us as teachers to continuously develop our own practice. Tactic knowledge defines as the knowledge that someone gains from an experience (Cambridge Dictionary, 2019b).  Engaging with reflective practice as a teacher allows us to critique our professional values and beliefs (Suphasri & Chinokul, 2021). This process allows us to make informed decisions which enhances our teacher professionalism. This reflective process allows us to gain insights into our strengths and weaknesses within teaching to develop our professional development. The reflective process allows us as educators to encourage innovation within the classroom. Innovation defines as a new idea or method (Cambridge Dictionary, 2019a). By using new methods in the classroom as teachers we are constantly improving our teacher professionalism which enhances our students learning experience.  Reflective practice is important in teacher professionalism as it allows us as educators to constantly improve our practice through the process of reflection. I believe that reflective practice plays a significant role in teacher professionalism as throughout my teacher training, I have been able to use reflective practice to improve my own practice and it has been tool that I have utilized that has helped me enhance my teacher professionalism. 

 

 

Conclusion

 

To conclude, throughout this essay I have explored the devaluation of art and design, exploring the current issues surrounding funding and the implications it has on students learning. I have referenced The Equality Act (2010) as a policy that is important within the art and design curriculum when decolonising the curriculum. Additionally, I have also done my own research into the diversity within art and design, this was through shedding light on artists that is given to students by the exam board.  

Through this research, I have realised the importance of teaching beyond the curriculum as an educator and providing students with a more diverse range of perspectives on art and design. Moving forward, I believe as an educator it is important to advocate diversity within art and design as it enriches the learner’s educational experience. Even within the professional standards provided by Education and Training Foundation Number 1, which says, ‘Critically reflect on and evaluate your practices, values, and beliefs to improve learner outcomes, (The Education and Training Foundation, 2022) " It shows us the importance within the lifelong learning sector that we should always be challenged to extend our perspectives and teach beyond the curricula.  Writing this essay has also allowed me to reflect on what my values are as a teacher and how they have changed throughout my career. It has also allowed me to recognize what my values are as a teacher so that moving forward within teaching I can develop these values.

 

 

 

 

References

 

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The University of Hull. (n.d.). Decolonising the curriculum. https://www.hull.ac.uk/choose-hull/university-and-region/key-documents/docs/quality/programme-development-and-management/decolonising-the-curriculum.pdf

Thomson, K. (2017). Durkheim’s Perspective on Education. ReviseSociology. https://revisesociology.com/2017/08/22/functionalist-durkheim-role-education/?utm_content=cmp-true

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Willetts, B. (2020). How the Industrial Revolution Impacted Graphic Design. Medium. https://medium.com/@brandywilletts/how-the-industrial-revolution-impacted-graphic-design-6140fad2cca

 

 

Appendices

 

 

Appendix 1

 

2021 – Communication - A Level Photography

Pearson Edexcel. (2021). Art and Design Advanced Level PAPER 02: Externally Set Assignment. Qualifications.pearson.com. https://qualifications.pearson.com/content/dam/pdf/A-Level/Art-and-Design/2015/Exam-materials/W65218A%20Art%20and%20Design%20GCE%20Level%203%20Autumn%202021.pdf

 

1. Alfred Stieglitz – American – Male

2. Baz Luhrmann – American – Male

3. Bruce Gilden – American – Male

4. Derek Jarman – British – Male

5. Eva Papamargariti – British – Female

6. Frances Seward – British – Female

7. Gregory Crewdson – American Male

8. Jeff Wall – Canadian – Male

9. John Hillcoat – Australian – Male

10. Maija Savolainen – Finland – Female

11. Mario Testino – Peru – Male

12. Nadar – French - Male

13. Oscar Rejlander – Swedish – Male

14. Robert Frank – Swiss – Male

15. Sara Ludy – American – Female

16. Sophie Calle – French – Female

17. Terrence Malick – American – Male

18. Wang Qingsong – Chinese – Black Male

19. Wes Anderson - American – Male

20. Zhang Yimou – Chinese – Black Male

 

 

 

 

 

 

Results - all results are rounded to the nearest whole number.

Female 5/20 = 25%

Male 15/20 = 75%

White 90%

Black and Southern Asian 2/20 = 10%

 

2020 – Change and or Stability – A Level Photography

Pearson Edexcel. (2020). Art and Design Advanced Level  Paper 02: Externally Set Assignment. Qualifications.pearson.com. https://qualifications.pearson.com/content/dam/pdf/A-Level/Art-and-Design/2015/Exam-materials/W68711A%20GCE%20Art%20and%20Design%209AD0_02%20Level%203%20Autumn%202020.pdf

 

1. Alfred Hitchcock – British – Male

2. Alfred Stieglitz – American – Male

3. André Kertész – Hungary – Male

4. Andrei Tarkovsky – Russian – Male

5. Charlie Phillips – British – Male

6. Daniel Meadows – British – Male

7. Elaine Constantine – British – Female

8. George Lucas – American - Male

9. Ingrid Pollard – South American – Black Female

10. Jennie Baptiste – Black British – Female

11. Jim Goldberg – American – Male

12. John Hilliard – British – Male

13. Josef Sudek – Czech – Male

14. Joss McKinley’s – British – Male

15. Ken Grant – British – Male

16. Lev Kuleshov – Russian – Male

17. Maisie Maud Broadhead – British – Female

18. Martin Parr – British – Male

19. Minor White – American – Male

20. Nan Goldin – American – Female

21. Nicholas Nixon – American – Male

22. Nick Waplington – British – Male

23. Orson Welles – American – Male

24. Penny Klepuszewska – British – Female

25. Phillip Toledano – British – Male

26. Rineke Dijkstra – Dutch – Female

27. Spike Lee – American – Black Male

28. Stanley Kubrick – American – Male

29. Steven Spielberg – American – Male

30. Tabitha Jussa – British – Female

31. Tom Wood – Irish – Male

Results – all results are rounded to the nearest whole number.

Male 24/31 = 77%

Female 7/31 = 23%

White artists 22/31 = 90%

Black and South Asian artists 3/31 = 10%

 

2019 Journeys and Pathways – A Level Photography

Pearson Edexcel. (2019). Art and Design Advanced Level Paper 02: Externally Set Assignment. Qualifications.pearson.com. https://qualifications.pearson.com/content/dam/pdf/A-Level/Art-and-Design/2015/Exam-materials/56758%20GCE%20A%20Art%20&%20Design%209AD0%2002%20Jun-2019.pdf

1. Alex Ramsey – British – Male

2. Bill Viola – American – Male

3. Christian Boltanski – French – Male

4. David Meadows - British – Male

5. Dorothea Lange – American – Female

6. Dryden Goodwin – British – Male

7. Edward Weston – British - Male

8. Guy Bourdin - French – Male

9. Iain Masterton – British – Male

10. John Davies – British – Male

11. Martin Parr – British – Male

12. Matt Crabtree – British – Male

13. Michael Wolf – German - Male

14. Richard Linklater = American – Male

15. Rinko Kawauchi – Japanese – Female

16. Robert Frank – Swiss – Male

17. Simon Roberts – British – Male

18. Walker Evans – American – Male

Results - all results are rounded to the nearest whole number.

Female 2/18 = 12%

Male 16/18 = 88%

White 100%

Black and Southern Asian 0