Academies: five things they don't tell you, from Mehdi Hasan

The battle heats up over the future of our schools system.

Is attention now turning from the hapless Andrew Lansley at health to the smooth yet gaffe-prone Michael Gove at education? On Monday, Fiona Millar, writing in the Guardian on the subject of academies and free schools, declared: "We must now have an open debate about privatisation".

On Tuesday, also in the Guardian, Seumas Milne wrote of how "schools are being bribed or bullied into becoming freestanding academies outside local democratic control".

In today's New Statesman, I note how "education could become as toxic for the Tories as health".

The inconvenient truth for the coalition is that ministers and their cheerleaders in the right-wing press have exaggerated the benefits and popularity of academies. There are a great deal of myths surrounding the recent academies "revolution". Here, for example, are five things that they don't tell you:

1) Nearly three-quarters of schools that have converted to academy status, or intend to convert, are driven by the belief that it would benefit them financially, rather than educationally, according to a survey by the Association of School and College Leaders.

2) According to a recent YouGov poll, less than one in three voters think turning more schools into academies will raise education standards.

3) According to a recent analysis of league table data by Dr Terry Wrigley of Leeds Metropolitan University, the "excessive" use of vocational equivalents has been "inflating" the results of England's academy schools. Academies, as even the right-wing thinktank Civitas has acknowledged, are "inadequately academic".

4) We hear a great deal about the success stories - Mossbourne, the ARK schools, etc - but have you heard about Birkdale High School in Southport, which only converted to a centrally-funded academy school in August 2011? It has just been deemed "inadequate" and put into special measures by Ofsted due to failures that inspectors identified during a two-day visit in December. Academy status is no guarantee of success.

5) In January, the Financial Times revealed that eight academies in financial difficulty have had to be bailed out by a Department for Education quango over the past 18 months, at a cost to the taxpayer of almost £11m. "Civil servants are increasingly worried about the lack of close supervision and sustained support for the schools - the so-called "middle tier" problem," wrote the FT's Chris Cook.

 

Oh, and if you're looking for a more detailed and informed take on academies, free schools and the privatisation of our education system, check out Melissa Benn's excellent book School Wars. It's reviewed by Francis Beckett in the NS here.

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

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Ariana and the Arianators: "We really are like a family"

The pop star provides her fans with a chance to express themselves joyfully - their targeting was grimly predictable.

Ariana Grande’s concert at Manchester Arena on 22 May began like any other. Children and teenagers streamed through the doors wearing pink T-shirts, rubber wristbands and animal ears (one of Grande’s signature looks). They screamed when she came on stage and they sang along with every song. It was only once the music had ended, and the 20,000-strong audience began to leave the venue, that the horror began – with a bomb detonated at the main entrance.

The show was just one date on Grande’s Dangerous Woman tour, which began in Phoenix, Arizona in February, moved across the United States and Europe, and had stops scheduled for South America, Japan, Australia and Hong Kong. (Since the Manchester attack, Grande has suspended the tour indefinitely.)

Since releasing her debut album in 2013, Grande has successfully transitioned from teen idol to fully fledged pop star (all three of her studio albums have sold over a million each) with a combination of baby-faced beauty and Mariah Carey-style, breathy vocals. Her most popular records are bubblegum pop with a Nineties R’n’B influence, a combination also expressed in her fashion choices: Nineties grunge meets pastel pinks.

She entered the limelight at 16 on the children’s TV programme Victorious, which ran on the Nickelodeon channel, pursuing her musical ambitions by performing the show’s soundtracks. Many of the young people who grew up watching her as the red-haired arts student Cat Valentine on Victorious would become fans of her pop career – or, as they call themselves, the Arianators.

As she outgrew her child-star status, Grande’s lyrics became more sexually suggestive. Recent songs such as “Side to Side” and “Everyday” are more explicit than any of her previous hits. She has repeatedly insisted that young women should be able to speak openly about sex and feel empowered, not objectified.

“Expressing sexuality in art is not an invitation for disrespect,” she tweeted in December. “We are not objects or prizes. We are QUEENS.”

Grande also has a reputation as something of a gay icon. She has advertised her records on the gay dating app Grindr, headlined shows at Pride Week in New York, and released a single and a lipstick to raise money for LGBTQ charities.

Cassy, a 19-year-old film student and fan, told me the fanbase is “made mostly of young women from 14-23, but I run into guys and non-binary fans all the time.”

“It’s pretty well known that Ariana has got a LGBTQ+ fan base. She’s so outspoken about it and that’s what draws us to her. Because she’s accepting of everyone, no matter who you are.”

Like many child actresses-turned-pop star, Grande has a fan base skewed towards the young and female: teenage and pre-teen girls are by far the majority of her most dedicated supporters. A writer on the Phoenix New Times described the typical Ariana Grande crowd as “pre-tween, tweens, teens, young gay (and fabulous) men, moms with cat ears, and multiple candidates for father of the year”. The Arianators form tight-knit groups on social media. I spoke to several over Twitter after the attack.

Arena concerts, which often have more relaxed age restrictions than nightlife venues, have long been a safe space for children, young people and teenage girls. They provide a secure place for concert-goers to dress up, experiment, play with burgeoning sexualities, dance, scream and cry: to flirt with an adult life still slightly out of reach. Glitter-streaked tears stream down the unapologetic faces of fans touched by an emotion bigger than themselves. It is appalling, if grimly predictable, to see children, teenage girls and young gay men targeted by agents of regressive ideologies for expressing themselves so joyfully. On 23 May, Isis claimed the attack.

“I went to my very first Ariana concert on 9 April,” Cassy tells me. “It was one of the warmest places I’ve ever been. People were so happy, smiles just beaming from their faces. People were being themselves – if that meant showing up in drag, they did. It was such an amazing place to be.”

Andréa, a 17-year-old fan from France, told me about her first experience of a Grande concert. “It was incredible,” she said. “Everyone was so kind, excited and happy. We really are like a family.”

The fans are devastated by Monday’s bombing. Thousands of messages appeared on social media to commemorate those who lost their lives. “As an Arianator,” Alexandre, aged 16, told me, “I’m really sad and I’m scared.”

“We’re all taking it really hard,” Cassy said. “We’re a family and we lost 22 members of that family last night.”

Ariana began her gig in Manchester with the song that has opened every night of her current tour: “Be Alright”. In it, she repeatedly reassures the crowd, “We’re gonna be all right.” It’s a phrase that her fans are clinging to after the attack. So, too, are the lyrics of “Better Days”, by Grande and her support act Victoria Monét, which was also performed the night of the explosion. “There’s a war right outside our window,” the words go. “I can hear the sirens . . ./I can hear the children crying . . ./I’m hoping for better days . . .”

“It’s hit us all very hard because we’ve lost some of our own,” said one Arianator who runs a popular Twitter account about the tour. “People we interacted with on a daily basis. People that just wanted to have a night of fun. These are dark times, but we are looking forward to better days.”

Anna Leszkiewicz is a pop culture writer at the New Statesman.

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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