The American revolution in English schools

The belief in school autonomy appears to be a myth.

When Andrew Pollard, one of the expert advisors to the Government's National Curriculum review, spoke out on  the “fatal flaws” in the new framework for Primary schools, he opened a window onto the strange politics of the Education ministers. Professor Pollard notes that when he first went into the office of Nick Gibb, Schools Minister, he found that Gibb had been doing his homework. On his desk lay a copy of a book by E D Hirsch, the American educationalist, “heavily stickered with Post it notes”.

In 1987 Hirsch produced the influential “Cultural Literacy: what every American needs to know”, which he followed up with a “Core Knowledge Sequence of year on year prescriptions for each subject pre-school to Grade 8 (age 13-14)”.  Pollard is not a fan of the Hirsch approach nor its apparent influence. He objects to the “extremely detailed year-on-year specifications in mathematics, science and most of English ... complemented by punitive inspection arrangements and tough new tests at 11”. He is particularly concerned that this will harm less able children. He is correct – while Michael Gove has spoken of returning to the world of Matthew Arnold, Nick Gibbs's vision owes more to that of Mr Gradgrind.

This prescription fits into a bigger picture. The americanisation of English schooling is becoming the dominant narrative, and Michael Gove's appearance before the Leveson inquiry filled in some of the blanks. Press attention focused, rightly, on this ex-Times journalist's links with Rupert Murdoch. Gove admitted that a trip to East London on 30 November 2010 to consider a News Corporation-sponsored Academy school included James Murdoch, Rebekah Brooks, James Harding and Boris Johnson. This captured the headlines but in fact the project fell through in early 2011, an early casualty of the phone hacking scandal.

There were other links to Murdoch, however. Professor Gaber has noted that Michael Gove met him more times than any other Government minister in the period May 2010 to July 2012 – six out of thirteen meetings by four government ministers to Murdoch were by Gove. Cameron met Murdoch twice, as did Osborne, and the embattled Jeremy Hunt only three times.

To see where News Corp's interest might lie, we can look to a conference organised by Gove's department in January 2011. Gove had invited Gerald Klein, who was then chancellor of the New York City Board of Education, to speak to people “interested in setting up free schools”. (So called “free schools” are a version of academies which both front benches favour.) Four days after Gove extended the invitation, Klein was appointed to the Board of News International. By the time Klein attended the conference he was a News Corp employee, although Gove says he did not know about the appointment.

Also attending the conference, and present at a dinner hosted by the Department for Education, were Mike Feinberg, co-Founder of KIPP Houston, Paul Castro, Head of High Schools KIPP Houston, Aaron Brenner, Head of Primary schools KIPP Houston, Jo Baker, Director of Washington Public Charter School Board, and Monique Miller, Performance Manager of Washington DC Public Charter School Board.

Free Schools thus seem intended to follow the Charter School model, and in particular the KIPP (Knowledge Is Power) curriculum which can be described as the “Boot Camp” approach to education. This regimented provision was originally seen as a cure for ghetto indiscipline, but has spreading into wider society.

Whoever Michael Gove is talking to – and he mentioned the Pearson Group and Microsoft in his Leveson evidence – the Tory leadership looks increasingly toward authoritarian, top-down solutions with commercial interests heavily involved. Which contradicts the core policy of school autonomy, driving the Academy and Free School programme. Nick Gibb told the House of Commons on 17 October 2011: “all the evidence from around the world is that three factors give rise to higher performance – autonomy, high quality teaching and external accountabilities – and it is autonomy that head teachers seek when they apply for academy status”.

How is it possible to reconcile the belief in school autonomy with the rigid top down primary schema that Gibb has now announced?

The belief in school autonomy appears to be a myth. By becoming an academy or free school, heads have opted into Government control. The purse strings lie in Whitehall, and as they are tugged by the ministers, heads will find they have no choice but to obey orders. It is KIPP, H D Hirsch and control by managers of business chains –  and not the rhetoric of freedom which will come to dominate state education. Those who pay the piper call the tune. The smart money will be betting it is “The Star Spangled Banner”.

Back to American school. Photograph: Getty Images
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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.