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| National Advisory Committee on Creative and Cultural Education | |
|---|---|
| Name | National Advisory Committee on Creative and Cultural Education |
| Formation | 1998 |
| Dissolved | 1999 |
| Type | Advisory body |
| Headquarters | London |
| Region served | United Kingdom |
| Leader title | Chair |
| Leader name | Sir Ken Robinson |
National Advisory Committee on Creative and Cultural Education was a short-lived advisory body established in the late 1990s to examine provision for creativity and culture in schools across the United Kingdom. Chaired by Sir Ken Robinson, the committee reported to ministers in the United Kingdom and engaged with institutions such as the Department for Education and Employment, leading cultural bodies and arts organisations. Its work intersected with debates involving institutions like the British Council, Arts Council England, and academic centres including Institute of Education, University of London.
The committee was established in the context of policy debates involving figures such as Tony Blair, Gordon Brown, and cultural ministers active in the New Labour era; contemporaneous policymaking institutions included the Prime Minister's Office (United Kingdom), the Cabinet Office (United Kingdom), and the Department for Culture, Media and Sport. Its formation was influenced by reports and commissions such as the Calouste Gulbenkian Foundation initiatives, the National Curriculum Review (1997–1999), and campaigns from organisations including National Society for Education in Art and Design, Royal Shakespeare Company, Royal Opera House, and British Film Institute. Stakeholders ranged from universities like University of Cambridge and University of Oxford to local authorities such as London Borough of Camden.
The committee's remit drew on precedents from advisory bodies including the Tomlinson Inquiry, the Dearing Report, and the Roberts Report (1998). It aimed to assess provision in museums, galleries, theatres and music services linked to schools, involving partners like Victoria and Albert Museum, Tate Gallery, National Museum of Wales, National Museums Liverpool, and Imperial War Museum. Objectives included recommending frameworks for partnerships between schools and cultural institutions such as Royal College of Music, Guildhall School of Music and Drama, Royal Academy of Arts, and broadcasting organisations like the BBC and Channel 4.
Members included educationalists and cultural leaders drawn from bodies such as Open University, University of Manchester, Goldsmiths, University of London, and professional associations like the Association of Teachers and Lecturers and the National Union of Teachers. The committee convened meetings in venues such as Southbank Centre, British Museum, and Glasgow School of Art, and liaised with regional agencies including Arts Council of Wales and Creative Scotland. Secretariat and administrative support involved offices within Department for Education and Employment and collaboration with the Local Government Association.
The committee produced a main report recommending curricular and partnership changes shaped by analyses akin to those in reports from other advisory bodies and echoes of inquiries like the Sutton Trust research on attainment. Recommendations proposed stronger links between schools and organisations such as English Heritage, Natural History Museum, Science Museum, Royal Botanic Gardens, Kew, and creative industries represented by British Film Institute and UK Film Council. Proposals included development of CPD with institutions like Royal Society of Arts, accreditation routes involving Chartered Institute of Educational Assessors, and regional pilots coordinated with authorities such as Greater London Authority.
The committee influenced subsequent initiatives under ministers and policymakers associated with Estelle Morris, Charles Clarke, and Andrew Adonis, contributing to strategies promoted by the Arts Council England and funding programmes involving bodies like the European Cultural Foundation and National Endowment for Science, Technology and the Arts (NESTA). Its recommendations fed into curriculum developments and were cited in policy documents from organisations including the Qualifications and Curriculum Authority and reports produced by think tanks such as the Institute for Public Policy Research and Demos.
Critics from unions such as the National Union of Teachers and interest groups including Campaign for Real Education argued the committee duplicated existing panels like the Advisory Committee on Cultural Education and risked politicisation amid debates involving Treasury (United Kingdom), funding allocations contested by local authorities, and tensions with institutions including the National Association of Head Teachers. Commentators in media outlets linked to personalities like Melvyn Bragg and organisations such as the British Academy questioned feasibility of recommended partnerships and resource implications for bodies including Community Arts Network and regional museums.
Although the committee was short-lived, its legacy persisted through programmes and partnerships enacted by organisations like Arts Council England, British Council, Tate Modern, and educational initiatives at institutions such as University College London and King's College London. Subsequent advisory arrangements and reviews by entities such as the Department for Education and the Department for Culture, Media and Sport built on its framework, influencing later policy instruments and collaborations involving Creative England, National Heritage Lottery Fund, and civic projects in cities including Birmingham, Manchester, and Bristol. Category:Arts councils