How could expressive art sessions relate to the four purposes of the curriculum (Donaldson, 2015)?

De Backer et al (2012) states that incorporating expressive arts into primary education supports children’s development of creativity. Correspondingly, Prummel (2006) expresses creativity in education as enabling pupils to reveal expression from impressions of experiences, in unique ways. Moreover, Donaldson (2015, p.29) underlines the key aims of the curriculum in Wales, for pupils to mature as:

•        Ambitious, capable learners
•        Enterprising, creative contributors
•        Ethical informed citizens of Wales and the World
•        Healthy confident individuals

Correspondingly, Bamford (2007) classifies creativity as a skill that endlessly develops importance in our changing society. However, Robinson (2006) identifies that primary schools lack motivation and present limited occurrence of creativity across their teaching. Likewise, Bamford (2007) reinforces that primary schools commonly focus on setting specific learning outcomes which can limit children’s learning experiences and can often result in steering children to discover, one correct answer. Although, Bamford (2007) highlights the significance of pupils making mistakes and learning from them. As a result, Donaldson (2015) suggests this stimulates children to feel confident and display their capability as learners to discover multiple answers and solutions, which equally advances their creative development.

Nonetheless, Schacter et al (2006) propose that most primary schools do not implement pedagogical approaches, which enhance children’s’ creativity. Consequently, teachers’ perceptions fluctuate on how to integrate creativity into their practice (Schacter et al, 2006). Therefore, Steers (2009) suggests that some practitioners relate children’s development of creativity amongst areas of the curriculum, although others link creativity with problem-solving tasks and children using their imagination. Regardless of practitioners conflicting views of how to endorse creativity, Donaldson (2015) believes that expressive arts, can enable pupils to grow their creative gratitude, capacity, artistic and performance skills.

In association, in Cardiff Metropolitan University I designed engaging activities for a year 5 class from St Nicholas Primary School. The activities, facilitated an expressive arts session, with a ceremonial celebration of the Spring Equinox. Similarly, to Donaldson’s (2015) aims of implementing expressive arts into practice, this session provided the children with opportunities to explore thinking around the topic, collaborate ideas, engage their thinking, inventiveness and senses creatively. The children shared their ideas on what they thought the Spring Equinox was about. Therefore, the children acted as ethical, informed citizens who respected the opinions of others and engaged with this contemporary topic, based upon their knowledge and values (Donaldson, 2015). Although, DFES (2007) reinforces the significance of children listening carefully to each other, showing respect to alternative responses and being open-minded to potentially, learn from others. Consequently, DFES (2007) implies that it takes a great amount of trust and confidence from children to openly share their thoughts, so, it is crucial that individuals value and exemplify positive attentiveness to what others have to say.

After listening to the children’s ideas and current knowledge of the Spring Equinox, I added some brief but key information. We positioned six visual cards, with key terms related to the Spring Equinox, in the centre of the drama studio. In groups, the children had to create their own motifs with freeze frames, including actions, movements and emotions associated with the series of key terms given. Therefore, Donaldson (2015) could suggest the children acted as ambitious, capable learners as they were encouraged to explore a new, challenging and extensive topic through the expressive arts. Additionally, the children acted as healthy, confident individuals as they participated in physical activity through practising and creating their own physical movements (Donaldson, 2015). However, in any expressive arts session, the educator’s role is crucial in monitoring pupil’s consistent participating, whilst supporting them to develop resilience and individual satisfaction from creative expression.

Although, during this exercise the different groups of children, interpreted the key terms differently which demonstrated their innovative abilities, thought process and heartened connection with the activity (Greene, 2000). The children demonstrated their enjoyment as they showed excitement and set themselves high standards to perform to the best of their abilities (Donaldson, 2015). However, this task could have been developed further as Robinson (2006) proposes that not all children have the same level of confidence when performing. Nevertheless, Robinson (2006) declares that the expressive arts can include art, music, dance, digital media as well as drama which enables children to connect with an area they have an interest in and perhaps, want to excel in. Likewise, Donaldson (2015) believes that if primary schools encompass wider creative aspects children can encounter further improvisation which can improve their confidence. 

However, Davies et al (2004) suggests that some pupils will have a preference for engaging with visual arts and design, whereas others will prefer literature and creative writing. Regardless, Robinson (2006) believes it is essential that instead of abandoning children’s unique interests, practitioners acknowledge and encourage them, as well as helping them progress in other areas of expressive arts which they may lack confidence in. However, Runco (2004), suggests that expressive arts entail application, perseverance and devotion from children and practitioners to achieve to the best of their abilities. Therefore, Kaufman and Sternberg (2007) indicate the importance of practitioners encouraging pupils to act and think creatively. As a result, Craft and Jeffrey (2008) reiterate that the expressive arts can be an effective way to explain ideas and concepts that children are learning about. Therefore, children can act as ambitious, capable, learners if they unveil understanding from research of a topic and evaluate critically what they have learned. In reflection, after participating in the spring equinox activities, the children took part in a circle time session. This devoted time at the end, to reflect on what the children had learnt, what they enjoyed and how these activities could be developed further in relation to alternative areas of learning and experiences.

Alternatively, Robinson (1999) and Davies et al (2004) reinforce the countless, diverse ways that primary schools can encounter the expressive arts, to relate to the four key purposes in the curriculum. Similarly, Donaldson (2015) reiterates that if children engage well with activities they can apply their knowledge and skills to construct ideas or products through art, music, drama, literacy and more. Compatibly, whilst, being on placement in Llysfaen Primary School the children designed and created their own Christmas tree decorations. These were designed by hand, then further detail was developed using computer software’s and they were completed by the children sewing their final products. This exemplified the children acting as enterprising, creative contributors while they demonstrated energy and skills (Donaldson, 2015) as they sold their products to the local community to raise money for their school. This addressed Donaldson’s (2015) aim of preparing children to play a designated part in life and work as they worked collaboratively with their peers and learned through critical appraisal of their work.

In conclusion, Donaldson (2015) suggests the expressive arts can inspire, motivate and connect children with creative processes, performances and products of others. Correspondingly, Donaldson (2015) states that achievement in the expressive arts can stipulate a foundation for continuous participation and contribute to a flourishing economy and cultural life for Wales. Likewise, Steers (2009) proposes how the arts can provide voluminous opportunities for experiences such as visits to theatres and museums. However, Donaldson (2015) has addressed the expressive arts as one of eight areas of learning and experiences in the curriculum which can meet the four core aims of the curriculum. Therefore, De Backer et al (2012) declares that the arts have acquired an increasingly prominent position in the modern, school curriculum compared to before. Although, Robinson (2006) states that the arts have always remained one of the least importantly ranked and prioritised subjects in education. So, it will take more than just addressing the subject as an area of learning and experience to change this mentality in education. Therefore, Donaldson (2015) suggests that the Welsh Government should consider an arts rich education being central to school experiences, to develop the core aims of the curriculum and prepare pupils for life and future aspirations.

Reference list

Bamford, A. (2007) Quality and Consistency: Arts and Cultural Education in Flanders. Brussels: Agency for Educational Communication

Craft, A. & Jeffrey, B. (2008) Creativity and performativity in teaching and learning: tensions, dilemmas, constraints, accommodations and synthesis, British Educational Research Journal, Vol. 34, No. 5, pp. 577–84

Davies, D., Howe, A., Rogers, M., & Fasciato, M. (2004). How do trainee primary teachers understand creativity? In E. Norman, D. Spendlove, P. Grover, & A. Mitchell (Eds.), Creativity and innovation – DATA international research conference 2004 (pp. 41–54) Wellesbourne: DATA.

De Backer, F., Lombaerts, K., De Mette, T., Buffel, T., & Elias, W. (2012). Creativity in Artistic Education: Introducing Artists into Primary Schools. International Journal of Art & Design Education, 31(1), 53-66.

Department for Children, Schools and Families (2007). Social and emotional aspects of learning for secondary schools: tools for monitoring, profiling and evaluation. Nottingham: DCSF Publications.

Donaldson, G. (2015). Successful futures: Independent review of curriculum and assessment arrangements in Wales

Greene, M. 2000. Releasing the Imagination: Essays on Education, the Arts, and Social Change. San Francisco, CA: Jossey Bass.

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Prummel, J. (2006) Het deurenpaleis, over creativiteit en onderwijs [The Palace of Doors, about Creativity and Education]. Brussels: CANON

Robinson, K. (1999) Culture, Creativity and the Young: Developing Public Policy. Strasbourg: Council of Europe

Robinson, K. (2006) Do schools kill creativity? (online). Available at: www.ted.com/index.php/ talks/view/id/66 (accessed 1 December 2007)

Runco, M. A. (2004) Creativity, Annual Review of Psychology, Vol. 55, No. 1, pp. 657–87

Schacter, J., Thum, Y. M. & Zifkin, D. (2006) How much does creative teaching enhance elementary school students’ achievement? Journal of Creative Behavior, Vol. 40, No. 1, pp. 47–72

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