Following on from all our Curriculum and Assessment news in November, here is another bumper edition of our Newsletter. In the Latest News section – spanning the education and Arts sectors – we report on:
- The implications of the autumn budget for children, schools and families
- The proposed improvement model for Progress 8
- A new DEMOS report examining the views of 16-18-year-olds
- The new England hub for the International Teachers Artists Collaborative (ITAC)
- A looming funding crisis for two Northern music and dance schools
- A new Shakespeare Curriculum for schools from the Royal Shakespeare Company
- Research on how visiting art galleries can improve wellbeing
- Two recent reports on barriers to engagement in museum learning
- A new report on who stays in – and who leaves – Arts and culture careers
- News in brief
In the Latest Thinking section of our Newsletter, we have the third in our series unpicking the policy conflation of the Arts and creativity: Jane Polley, Curriculum Specialist, The Arts, at ACARA (Australian Curriculum, Assessment and Reporting Authority), gives us an international perspective on how the Arts can help us to understand and assess creativity.
CLA has worked with Andreas Schleicher, Director of the Directorate of Education and Skills for the Organisation for Economic Cooperation and Development (OECD) in the past – you can see a presentation by Andreas on our website here. The OECD has released a report which has interesting connections with, and implications for, expressive Arts education. Also in Latest Thinking, our Senior Evidence Associate, Professor Pat Thomson, has examined the OECD’s new conceptual framework for human flourishing and draws comparisons with our own Arts Education Capabilities Framework.
We also have our regular Research Spotlight article from Professor Thomson: this month she reports on a research paper examining the impact of AI on school music education, asking key questions about equity, ethics and artistic expression, and making important recommendations, including for future research.
In the new year we will be consulting on mark two of our new Blueprint for an Arts-rich education – most of the asks in our current Blueprint were met on 5 November when the Curriculum and Assessment Review was published! We always knew we would be recalibrating our asks across curriculum, enrichment and workforce once the Review was published and we look forward to consulting with members and to running a series of webinars early in 2026.
Autumn Budget 2025
There were various announcements in the Budget on 27 November which are relevant for children and young people, across SEND, the two-child benefit cap, secondary school libraries and new playground funding.
As the Fair Education Alliance (FEA) said in its response, the challenging economic environment is clear and the education sector “will need to prepare for a period without much financial flexibility”. The FEA suggests that collaboration and partnership between government and public, third and private sector will be crucial to navigating this uncertain terrain.
Key announcements were:
- Ending the two-child benefit cap – many have long called for this as a means of providing immediate relief to families in poverty and taking a step towards a fairer education system for children from low-income households. There are an estimated 4.5m children living in poverty in the UK. The FEA reports that “the two-child limit has played a major role in rising child poverty. Between 2010–11 and 2022–23, the relative child poverty rate increased from 27% to 30%, driven almost entirely by a surge among families with three or more children.” The Institute for Fiscal Studies says that the policy change will life 540,000 children above the poverty line and the Resolution Foundation estimates that 490,000 children will benefit. Our Report Cards highlight the significant Arts entitlement gap in England, with children growing up in areas of multiple deprivation less likely to take Arts subject options from the age of 14 and our Capabilities Framework highlighting what they miss out on because of that.
- SEND: The government confirmed it will absorb the rising cost pressures of SEND provision from 2028 when the statutory override allowing councils to set deficit budgets comes to an end. It means the future mounting cost pressures of the SEND system will sit on the government’s books, rather than councils. As reported in Schools Week, the Office for Budgetary Responsibility estimates this will leave the government facing a £6.3 billion annual shortfall – with no plans set out yet to address it, and no plan for existing and rising council deficits – and set to hit £14 billion soon.
- Secondary school library books: There is to be £5m for secondary library books – this equates to £1,400 per school and builds on an earlier pledge of £10 million in funding to provide every primary school in England with a library by 2029 (through the National Lottery Community Fund dormant assets fund).
- Playgrounds: Government will invest £18 million over two years in up to 200 playgrounds across England. No detail has yet been provided.
- Private school VAT income: the government’s introduction of VAT on private school fees will raise £40 million a year more than expected. This is driven by an updated forecast for average earnings that is used to project school fee growth, according to the OBR.
- No additional school revenue funding: There was no announcement of any extra school revenue funding. This year’s spending review set out plans to raise the schools budget from £64.8 billion in 2025 to £69.5 billion in 2028, a cash-terms increase of £4.7 billion by the end of the spending review period. Sector leaders had hoped for extra cash at the budget to fund rising cost pressures, including partially funded pay rises.
You can see helpful commentary on the announcements from Schools Week, FE Week, the Guardian, the Local Government Association, and the DfE itself.
Following the budget announcements, the government launched its Child Poverty Strategy on 5 December – we will report further on this in our next newsletter.
Comment
Our CLA Report Cards highlight the significant Arts entitlement gap in England, with children growing up in areas of multiple deprivation less likely to take up Arts subject options from the age of 14; our Capabilities Framework highlights what they miss out on in terms of personal benefits because of that. We welcome any fiscal moves to bring children out of poverty. It is interesting to see the SEND announcement and its implications for government spending – the financial challenge is clear for future spending, as we await the upcoming Schools White Paper in the new year. This is set to focus on improving standards and inclusion for all students, particularly those with SEND and from white working-class backgrounds.
Whilst the policy context for the Arts in schools is hugely improved following the Curriculum and Assessment Review, there is no escaping the fiscal backdrop which will no doubt constrain much of what can now be implemented and achieved.
We are interested in the additional £40m revenue from private school VAT income and are wondering where this additional income might be directed. An Arts entitlement is what parents expect and pay for in the independent sector and it would be interesting to see this new income directed to plugging the Arts entitlement gap and the Arts enrichment gap for disadvantaged children that we evidence in our Report Cards.
Reforming Progress 8: an explanation of the proposed improvement model
As we reported in our analysis of the government response to the Curriculum and Assessment Review, the government is proposing to consult on changes to Progress 8 and Attainment 8 – you can see the proposed model here. This was not a recommendation from the Curriculum and Assessment Review, so the government has gone further than the Review’s recommendation to remove the EBacc and not to reform Progress 8.
The introduction to the short document explaining the proposed improved model states: “Reflecting the importance of a curriculum that supports high standards, we will develop and consult on an improved version of Progress 8 and Attainment 8 that balances a strong academic core with breadth and student choice.”
It goes on to say, “It is essential that all students retain this academic core, but we believe the current structure has hampered progress in subjects which strengthen our economy and society, for example the arts, and therefore should make changes which recognise the value of these subjects and the importance of a broad pre-16 curriculum.”
We don’t yet have dates for the formal consultation (beyond “in due course”), DfE says it will publish its response to the consultation in the summer term 2026 “so that schools can take the revised measure into account when determining subject choices for pupils who will start their GCSEs in September 2027.”
The government states that Progress 8 and Attainment 8 will continue to be based on a calculation of pupils’ performance across eight qualifications, and they provide a diagram and explanatory text to show the proposed model, including the qualifications that would be eligible to fill each of the eight slots. For slots 5 and 6 they say “These two slots must be filled by GCSE (or relevant AS level) qualifications from two of the three categories below (the two slots cannot be filled by subjects from the same category). These slots will take the two highest point scores from qualifications that satisfy this requirement.
- Category A – Humanities – geography, history, religious studies
- Category B – Creative – art and design, music, drama, dance, design and technology
- Category C – Languages –modern foreign languages and ancient languages
They provided four ‘worked examples’ which consider a pupil who:
- Enjoys humanities and modern foreign languages
- Enjoys creative subjects
- Enjoys science subjects
- Enjoys physical activity
Comment
CLA, together with many colleagues, has warmly welcomed the abolition of the EBacc, and also the ambition to reform Progress 8 and Attainment 8. It is good to see specific consideration of Arts subjects here and interesting to see D&T included. We will work on a formal submission to the consultation when we have the details, so do get in touch if you would like to share your views at this stage.
New DEMOS report examining the views of 16-18-year-olds
Inside the mind of a 16-year-old is a new Demos report examining what young people really think about politics, social media, and the future. Authors Shuab Gamote and Peter Hyman have travelled across the country to delve into the minds of 16-18-year-olds. Drawing on workshops and conversations with more than 700 students, they conclude that this is a generation that is thoughtful, diverse and politically aware.
The report introduces five archetypes, co-designed with students themselves, that reflect the spectrum of young people today: the Activist, the Entrepreneur, the Critical Realist, the Traditionalist and the Connector.
Key findings are that:
- Knife crime is the top concern raised by young people, and is seen as a symbol of politicians’ failure to keep them safe
- Young people are incredibly media-savvy, cross-checking what they see on TikTok with mainstream sources
- Schools are closing down space for debate and discussion, leaving students craving honest discussion
- Mainstream politicians are not communicating effectively with young people
- Andrew Tate’s influence is fading – today’s teens follow a far wider mix of creators
- Despite their frustrations, most remain hopeful and confident that Britain can improve, and that they’ll build better lives than their parents.
The authors write: “Through our conversations with young people, we found … not a lost generation but one forced to grow up faster – navigating crisis and contradiction with remarkable resilience. The real challenge for society lies not just in their online worlds but in how little we have invested in their offline lives. They are testing values, building communities and seeking meaning in places adults rarely look.”
“The digital landscape is complicated, fragmented and dynamic: rather than following one person’s ‘ideology’, young people are immersed in a constant stream of content. They are ‘influenced’ by tens if not hundreds of creators. And they are incredibly skilled at navigating this world – the good, the bad and the confusing”.
“Our conversations made us more optimistic about young people … One of the main reasons young people spend so much time online is the lack of alternatives. When they fear going out, and when there are few local places for them to socialise, many believe their bedroom is the safest place to be.”
The report’s writers feel that giving 16-year-olds the vote might lead to politicians starting to believe that their voices matter.
The study identified that Gen Z is not uniform has three groups:
- Gen Z 1.0 (aged 23 to 28) recall flip phones. They grew up with early social media such as Facebook, where digital life complemented the real world rather than dominated it. Many finished school or university during the pandemic lockdowns.
- Gen Z 1.5 (aged 18 to 23) are the Covid cohort. They learned online, lived through long restrictions, and often bear the emotional aftermath of isolation. They are comfortable spending hours online, but also aware of how draining that can be.
- Gen Z 2.0 (aged 15 to 18) are growing up in a world defined by TikTok, hyper-interactivity and algorithmic immersion. For them, the online world is not separate from real life. They use AI tools like ChatGPT routinely for schoolwork, entertainment and even friendship.
Comment
CLA welcomes the optimism this new report provides around the young people’s views and attitudes. As we commented on our analysis of the Curriculum and Assessment Review, there was a surprising omission of learner voice in the Review and we welcome all initiatives that work to listen to young people, to capture their reflections, and to understand how they are approaching life skills such as digital and media literacy – two important capabilities which the Review and the government are now keen to embed within the curriculum.
Curious Minds launches England Hub for International Teaching Artists Collaborative (ITAC)
The International Teaching Artists Collaborative (ITAC) is a global network for Teaching Artists who use their art to activate the artistry of others. ‘Teaching Artist’ is the international term for professionals who might also be termed Arts educators, community artists, creative practitioners or Arts teachers in England. ITAC offers an immediate gateway to connection with other Teaching Artists, both in England and across the globe, and has more than 4,000 members in 45 countries.
The ITAC Hub for England – launched on 2 December – is now hosted by Curious Minds, a national charity based in the North of England which is dedicated to improving access to Arts education and cultural learning for children and young people. Its CEO is Derri Burdon, CLA’s Co-Chair.
Curious Minds is acutely aware that Teaching Artists in England are both essential and often under-recognised. Even within England, career routes for Teaching Artists are patchy and learning opportunities are fragmented. Much of Curious Minds’ work is dedicated to changing that; launching the ITAC England Hub is an important step towards making international collaboration and shared learning easier. It will also provide a platform for more powerful joint advocacy on an international scale. The new Hub will enable this by creating “structure, voice and pathways aligned with Curious Minds’ national leadership in cultural learning”.
Membership is FREE and you can register here if you want to encourage the freelancers and organisations you work with to register.
Comment
As we head into a period when the Arts teaching workforce will be important in delivering a new Arts curriculum entitlement in schools it’s good to see close attention being paid to this important dimension of Arts teaching.
The more recognition and awareness of the important role Teaching Artists play, the better, and we hope that Curious Minds hosting the new ITAC Hub for England will offer significant opportunities for debate about how Teaching Artists can support the government’s the new ambition to revitalise Arts education in England – and how they can also play a vital role in boosting the Arts education workforce.
Our annual CLA Report Cards chart the erosion of our Arts teaching workforce in schools, and we know that there is now no bursary available for those wanting to pursue Initial Teacher Training in Arts subjects (as we reported last month). We also know from the new PEC research covered in this edition of Latest News (see below) that many working in the Arts sector have limited opportunities for secure employment or progression.
Many schools employ Teaching Artists, and many Arts organisations rely on them as a key part of their workforce. Let’s hope that the ITAC England Hub will raise the profile of this important role and properly consider its important place in the Arts education ecology.
Northern music and dance schools say they are facing a funding crisis
Two world-leading music and dance schools have announced that they are facing a financial crisis that threatens to shut down opportunities for talented young people from diverse and less privileged backgrounds. You can see ITV coverage here.
Chetham’s School of Music in Manchester, founded in the 17th century, and The Hammond in Chester provide world-class music and dance training to the next generation of artists, and both are now warning they could close within the next two years. They say that business rates, National Insurance changes and the introduction of VAT fees on private schools have put their futures in doubt.
Both sites participate in the government’s Music and Dance Scheme, a means tested fund that covers the fees for talented children from disadvantaged backgrounds, enabling them to pursue careers at the highest level in the performing Arts sector. The Hammond has 56 students on the scheme. Chetham’s is one of four music schools on the scheme – the only one in the North; the Hammond is one of four dance schools – also the only one in the North of England.
Grants are available for full time study at a music and dance school. Children and young people aged 8-19 are eligible for music schools and aged 11-19 for dance schools. If family income is below a certain threshold per annum, which differs slightly depending on the school, then all fees are paid by the Department for Education grant. If family income is above the threshold, then the amount paid by parents is based on a means test scale.
A Department for Education spokesperson said: “High and rising standards are at the heart of this government’s mission to break down barriers to opportunity so every child can achieve and thrive. We are committed to ensuring art, music and drama are no longer the preserve of a privileged few, providing £36.5m for the Music and Dance Scheme this academic year, including an additional £4 million to cover the VAT cost linked to school bursaries”.
The news highlights the complexities of balancing cost, world-class tuition, and equitable access in a challenging financial context – and mirrors the challenges in state school funding.
Comment
We know – following the Curriculum and Assessment Review – that the government is committed to ensuring equitable access to Arts education, but educational institutions sit within a wider financial context which has been challenging for some time. There will be a great deal of juggling ahead to manage Arts provision as an entitlement across schools and to sustain and build conservatoire provision to avoid to talented children and young people missing out on world-class training.
We know that talent is everywhere; opportunity is not. Chetham’s and the Hammond are the only two of the schools participating in the government’s Music and Dance scheme located in the North of England. Given the CLA 2025 Report Card identification of the North West as one of three regions where children are less likely to pursue Arts subjects from the age of 14 (alongside the North East and the West Midlands) this financial risk is even more troubling.
Royal Shakespeare Company launches new Shakespeare curriculum
Actors from stage and screen including Helen Mirren, Ian McKellen, and Adjoa Andoh joined the Royal Shakespeare Company and the Foyle Foundation to launch the new RSC Shakespeare Curriculum in November.
The first teaching and learning platform of its kind dedicated to Shakespeare’s plays – with user interfaces for both teachers and students – the Shakespeare Curriculum is intended to revolutionise the way Shakespeare is taught and learnt about in secondary schools.
The Shakespeare Curriculum addresses the core issue that Shakespeare’s plays – written for performance – are too often treated like novels. This approach can often be off-putting or alienating for many young people.
Free to all state funded secondary schools and SEND schools, the platform distils the RSC’s teaching approaches into a digital framework based on the way RSC actors and directors work together in rehearsals. The Shakespeare Curriculum gives teachers the tools they need to unlock Shakespeare’s language, character and themes, while building vital skills for school, life and work.
The platform was developed over a two-year consultation process with teachers and young people. It was built in collaboration with technology partner Charanga, through major investment from the Foyle Foundation and support from the John Jennings Trust. The philanthropic investment is to ensure free access to UK state funded secondary and SEND schools – the aim is that by 2028/9 it will be used by 80% of all UK state secondary schools. There is tiered pricing for the independent sector.
Jacqui O’Hanlon, the RSC’s Director of Creative Learning (and former CLA Chair) said “The RSC has worked with thousands of teachers and young people over 20 years and we understand the challenges of teaching and learning about plays that were written over 400 years ago. The Shakespeare Curriculum responds to this challenge.
“Research shows that the combination of Shakespeare’s language and RSC teaching approaches improve young people’s academic, social and emotional development. As well as improved language development, writing and oracy skills, this work improves communication, self-belief and well-being and develops creative problem-solving skills.”
Comment
Shakespeare was the only named writer in the Curriculum and Assessment Review but still too many young people feel excluded from his work, so it’s important every school can draw upon the support they need to unlock it. Drama will remain within English within the new national curriculum so Arts subjects retain an adjacency to other subjects (as is also the case with Dance which will remain within PE).
CLA regularly works with the RSC. It is the only UK Independent Research Organisation for the performing arts sector, and we know how committed it is to rooting its learning work in evidence, and being deeply responsive to the needs of children, young people and schools – so we welcome this new resource for schools. We particularly appreciate the news that philanthropic funding has ensured that it is free to all state funded secondary schools and SEND schools.
The government’s ambition is now to revitalise arts education and resourcing arts learning (and an enrichment entitlement) is going to be challenging. Philanthropic/cultural sector partnerships like the funding partnership forged to create the new Shakespeare Curriculum will be important in enabling schools to harness the valuable resources on offer from the cultural sector. This is an example of a national cultural sector organisation being responsive to school needs and securing investment to deliver a valuable resource.
The upcoming National Centre for Arts and Music Education is set to broker partnerships between schools and cultural organisations, signpost resources, and support professional development for the Arts education workforce. This will involve cultural organisations of all sizes, from small-scale to large-scale. We share this as an example of a major national cultural sector organisation being responsive to school needs and securing investment to deliver a valuable resource for schools.
New study reveals how visiting art galleries can improve wellbeing
A study led by King’s College London has found that viewing original works of art can relieve stress, cut heart disease risk and boost immune system.
Researchers measured the physiological responses of participants while viewing masterpieces by world-renowned artists including Manet, Van Gogh and Gauguin in a gallery. They found that art positively influences the immune, hormone and nervous systems simultaneously – something not previously recorded. The findings suggest that seeing original art not only moves people emotionally but also calms the body and promotes health and wellbeing.
The UK study involved 50 people aged between 18 and 40, half of whom viewed original artwork at the Courtauld Gallery in London, while the other half looked at copies of the same paintings in a non-gallery environment.
Dr Tony Woods, a researcher at King’s College London, said: “The research clearly shows the stress-reducing properties of viewing original art and its ability to simultaneously excite, engage and arouse us. “Stress hormones and inflammatory markers like cortisol, IL-6 and TNF-alpha are linked to a wide range of health problems, from heart disease and diabetes to anxiety and depression. “The fact that viewing original art lowered these markers suggests that cultural experiences may play a real role in protecting both mind and body.”
The study also found that art engages the immune system, the nervous system and the endocrine system, which is responsible for releasing hormones. Researchers detected signs of excitement among those viewing art in the gallery, including a dip in skin temperature, overall higher heart rates and a variation in heartbeat patterns.
“From a scientific perspective, the most exciting outtake is that art had a positive impact on three different body systems – the immune, endocrine and autonomic systems – at the same time,” Woods said. “This is a unique finding and something we were genuinely surprised to see.
The study was part funded by the Art Fund. Art Fund’s director, Jenny Waldman, said: “This study proves for the first time what we’ve long felt at Art Fund – that art really is good for you. What’s particularly exciting is that the findings show these benefits are universal – they can be experienced by anyone.”
Comment
CLA’s Arts Education Capabilities Framework makes clear the important role that Arts subjects play in wellbeing and improved mental health for children and young people, and we will shortly be co-publishing, with the Royal Shakespeare Company, the findings from new Rapid Evidence Reviews spanning almost 1,200 pieces of evidence, many of which make clear the health and wellbeing benefits of engaging with Arts subjects and experiences. 2026 is set to be an excellent year for evidence in our field.
Museum learning: issues, data and potential
Two recent reports commissioned by Arts Council England (ACE) highlight the barriers museums face to engaging children and young people, along with examples of how institutions are seeking to overcome them.
Project-based funding for museum learning programmes poses a “clear challenge” when it comes to sustaining engagement with children and young people, a new report commissioned by Arts Council England (ACE) has found.
Children and Young People Engaging with Museums, authored by the Group for Education in Museums (GEM), examines the relationship between young people and museums, drawing insights from a survey of 126 museums and a roundtable discussion with 42 heads of learning from museums across England. The report notes that because museum fundraising teams tend to find it easier to fundraise for education work, learning programmes are more at risk of being cut or curtailed than those underpinned by core funding.
A second study sought to understand the lifecycle of children and young people’s engagement in museums through focus groups in Wolverhampton, Kirklees and North Devon, supplemented by a parallel, ongoing online survey.
Children and young people from London were most likely to have visited a museum (63%), while those from the West Midlands were least likely to have done so (39%). Visiting rates were highest among young people from mixed-ethnic and white backgrounds (55% and 53%, respectively) and lowest among those from Black backgrounds (40%).
The report found the proportion of young people visiting a museum increased with age in early childhood to a peak at age 10 (67%) and then declined from this point. Among the different age groups included in the research, younger teenagers (12-15) showed the lowest enthusiasm for museums.
Aysha Afridi, interim Director of Museums at ACE, said the two reports “make clear that barriers to access still exist” but also spotlight “the tireless, creative and dedicated work museums are doing” to break down barriers.
Caroline Marcus, chair of GEM, added: “Museums are places of wonder and inspiration that provide enrichment, enhance learning, creativity and wellbeing. These examples show the breadth and huge potential of informal engagement for children, of all abilities, in their early years through to young adulthood.”
Comment
CLA knows that learning teams within Arts and cultural institutions are often not what they were before Covid – many are reduced and the funding pressures are greater. But the needs of young people are immense in terms of their personal, social and creative wellbeing. Cultural organisations can support them to achieve and to thrive – but only if learning teams are embedded, supported and sufficiently resourced to drive forward on their engagement with children and young people in their schools, families and communities. It’s good to see this data reinforcing that need.
Virtually the only ambition set out in our Blueprint for an Arts-rich education not addressed in the Curriculum and Assessment Review – as it’s really for DCMS and Arts Council England to address, not DfE – was a commitment to ensuring that the cultural sector can respond strategically to meet the needs of young people in schools and their communities and is resourced to do so.
The new imperative in the Curriculum and Assessment Review for curriculum responsiveness to local context is particularly helpful for this. As the Arts in Schools: Foundations for the Future report sets out in its recommendations, “We would like to see schools able to respond more to local circumstances, engagement with civic society, and more agency for teachers to develop partnerships within their localities in order that schools can benefit from the creativity and resources available … reflecting the local economy, cultures, Arts provision, employment needs and opportunities, and contributing to thriving local communities.”
New report on who stays in – and who leaves – cultural sector careers
Focusing on the trajectory of Arts, culture and heritage professionals, this new report from Creative PEC, published on 19 November, looks at the barriers to retention across the sector.
The report’s authors include Dave O’Brien and Kate Shorvon from the University of Manchester with colleagues from the University of Sheffield and the University of Liverpool. It is part of Creative PEC’s State of the Nations series. Dave O’Brien was a member of our CLA Evidence and Value Narrative Working Group through 2023-2025.
Key findings are that:
- Self-employed/freelance workers are less likely to leave, suggesting that they provide continuity for the sector but may stay freelance out of necessity rather than choice – given limited opportunities for secure employment or progression
- Most people leaving careers in this sector move into managerial or professional roles in other sectors, pointing to a retention challenge
- People aged 35 and younger are much more likely than people in other age groups to leave occupations in this sector
- Conditions are particularly challenging for people with caregiving responsibilities, with women being disproportionately affected. Women with children reported that the working hours in jobs and schedules in this sector were often incompatible with family life.
Comment
This is relevant for CLA as we consider progression and pathways available to young people wishing to pursue creative careers in our new education policy landscape. There are set to be changes to the post-16 qualification landscape and if an Arts entitlement is to be built within the curriculum after years of Arts erosion in many schools, then we need to build our understanding of career pathways for young people committed to Arts subjects and to creative careers.
The more solid evidence available to us, the more we are able to understand the full Arts/cultural ecology and the barriers to equitable access, to diversity, and to potential. This report adds to our understanding of how we are losing out to other sectors.
News in brief
- National Centre for Arts and Music Education: The Initial Invitation to Tender for the National Centre for Arts and Music Education has been delayed until the new year. CLA published its vision and framework document for the Centre in October, having shared it with DfE in the summer, so we await more detail on the level of funding available. If everything holds to the original schedule, the Centre is meant to be taking on Music Hubs (already funded to the tune of almost £80m) from September 2026 so there won’t be long to open for bids; select the winning bid; and for the winning bidder to be up and running. Will the launch date have to be delayed?
- Arts Council England Review: Another thing we are all waiting for is Baroness Hodge’s Review of Arts Council England. At the time of writing this was imminent. Since 79% of ACE National Portfolio Organisations deliver learning work, and ACE has been a fundholder for DfE for various initiatives, including the Music Hubs, for some time, we’re keen to understand how ACE’s role in the learning space might change following the Review’s recommendations. We already know that the Music Hubs funding is due to transfer from ACE to the new National Centre for Arts and Music Education in 2026. Meanwhile ACE is currently still awaiting its grant-in-aid settlement from DCMS.
- Ofsted reforms – headteachers’ Union loses appeal against judicial review decision: The National Association of Headteachers union (NAHT) has lost its appeal against a decision by the High Court to throw out its legal challenge to new Ofsted inspections. The new inspections, which have already begun with volunteer schools, involve settings being judged with one of five grades in up to eight judgment areas. The union filed a claim for judicial review at the High Court in May, warning members feared the increase in the number of sub-judgments under new report cards would “only increase high-stakes accountability and pressure”. The court heard that the NAHT and other education unions favoured a “narrative-only” approach to inspection due to concerns about the impact of high-stakes graded assessments on teacher wellbeing. Parents and carers, however, preferred some form of grading or scaling.
Welcoming the judge’s decision, the Chief Inspector of schools, Martyn Oliver, welcomed the decision, saying the new system will be better for parents, children and families. The NAHT’s general secretary, Paul Whiteman, said the Union was considering an appeal, saying: “The decision … doesn’t detract from our valid and reasonable concern about the damage to the mental health and wellbeing of school leaders and staff of the new report cards.” We will reflect more on the new framework in relation to expressive Arts subjects early in 2026.
- National Youth Strategy: As we write, we are awaiting the launch of the National Youth Strategy. As we reported in September, The National Youth Strategy was announced in November 2024 and aims to break down barriers to opportunities for young people. The Strategy is led by DCMS and will prioritise delivering better-coordinated youth services and policy at a local, regional and national level. It is aimed at ensuring decision-making moves away from a one-size-fits all approach, handing power back to young people and their communities to rebuild a thriving and sustainable sector. It is aimed at children and young people aged 10-21 years old, and up to 25 years old for those with special educational needs and disabilities (SEND). A key focus of the strategy is for young people from across the country to be given the opportunity to co-produce a new approach with the government towards the support services available to them. We look forward to reporting on this in our next newsletter.
