David Roy

NESA – it’s murder on the dance floor and in the theatre: how educators fought back

The Arts have often been agitators in challenging systems. The NSW Educational Standards Authority (NESA – and there are no equivalent bodies in other states and territories) has stirred a hornet’s nest. How? It introduced a new draft drama syllabus for senior school and new draft music syllabuses for senior school with not enough consultation.

The CEO of NESA even recognised the unprecedented outrage reaction from drama and music educators at the emergency additional NSW Arts Education Inquiry hearing in response to the reaction. 

Teachers and academics, so often pitted against one another, have united together for insurgence against the imposed didactics from the authorities. There is the potential for this collective to have a genuine, positive impact.

Speaking out together

On the release of the draft drama syllabus, there were several immediate responses. Academics and teachers communicated through professional organisations, voicing concerns, rather than awaiting a 6 – 18 month research journal publication or relying on the consultation survey alone. Indeed, many teachers are stifled by their employment obligations to speak publicly. 

But those with freedom to speak contacted politicians across the ideological divide, wrote articles here, here and elsewhere and engaged the media. An e-petition was also set up to suspend and remove the draft syllabus from circulation and restart the review process

The community of voices grew in unprecedented ways, gaining a rally of responses from former drama students, industry professionals and celebrities, who made their stand against the proposed changes bold and resolute. 

This week was especially momentous. Drama educators numbering in the hundreds united for an expert panel discussion “Our Syllabus, Our Stories” held at the Seymour Centre in Sydney. Courageously, the CEO of NESA, Paul Martin, attended the event, spoke, and answered questions. 

One backflip

Martin has already announced one significant backflip on the proposed changes, shaking the parameters and rigour of the so-called formal consultation period that was otherwise set to end December 20 2024. Specifically, the Group Performance project will once again be externally examined. He also guaranteed that any proposed changes were not economically based. Despite the cynicism of many, if educators and the system are to work collegially with each other, there must be a belief that we are all working in ‘good faith.’  

 But there are still issues to address. The changes to the syllabus will not necessarily improve declining numbers of students choosing drama as an elective. The socially constructed lower ATAR branding is a major disincentive that needs to be addressed. The syllabus changes will not decrease teachers’ workload, though it is promising that NESA recognises that drama teachers sacrifice their personal time outside of working hours to prepare students for assessments. 

No-one said the COVID responses were an improvement

Arguing that the changes suggested are based on positive aspects of the response to the COVID lockdowns is incorrect. Teachers made changes to support students, but no one suggested these were improvements. By limiting materials that can be used in the drama curriculum, by removing methods of submission of material, or even areas to assess, not only will NESA limit the pedagogical potentials for students, but there is also a real fear that students with a disability will be impacted.

Many students with a disability choose the Arts as areas to engage with as they are taught in inclusive ways through the Arts, and offered a variety of methods to demonstrate deep understanding and success rather than solely through the skill of writing. To be a fully inclusive society, we must offer diverse means to assess the curriculum and offer a variety of means to submit assessments. We need to retain the depth in source material for students to work with. 

Educators united

The NSW drama and music syllabuses at the HSC level are highly regarded internationally for offering real world experiences and authentic assessment. Teachers and academics are united in ensuring it remains so.

The NSW Education Standards Authority (NESA)  is responsible for developing and implementing the official curriculum. NESA’s role, in part, is to provide the syllabus documents that outline the content for courses in specific subjects. 

The dismay from all involved in music education also, has resulted in a sustained campaign involving an Open letter to Education and Early Learning Minister Prue Car from renowned academics from all states of Australia, a petition signed by over 5,000 teachers and education lecturers, articles in EduResearch Matters (drama and music), the Sydney newspapers, and an extra Parliamentary Inquiry for both drama and music to present their expert opinions regarding the proposed changes. NESA was also grilled by the Select Committee and refused to make any concessions on the three music syllabuses and only a minor one on the Drama Syllabus.

By uniting across disparate groups that often are pitted against each other, teachers and academics are demonstrating their power as a collective. It also shows the wider community that quality teaching and learning in schools is greatly affected by broader factors. Agencies such as NESA play a major role in enabling or constraining the possibilities for both teaching practice and student learning experiences.

Power as a collective

The inclusive design of the original Music 1 course, for example, was the attraction for students who had previously not had the opportunity to have private music lessons, where typical students can “range from those with beginner instrumental and/or vocal skills to those with highly developed performance skills in a variety of musical styles including contemporary/popular music” (Music 1 Syllabus, 2010, p. 8). 

In 1978, the NSW Minister for Education, Eric Bedford, insisted that ‘society is not made by schools: schools reflect society’ and warned that if ‘society places demands upon schools such that all cannot be met, then the purpose of school loses definition and schools appear to become ineffective.’ Is it Time for an Educational Audit? Introductory Address, Public Seminar, Sydney). The proposed changes to the arts syllabuses suggest that in the supposedly more enlightened times of 2024, NESA has totally disregarded this line of thought and has been intent on revising our NSW syllabuses for the sake of placing their mark on syllabus history (as distinct from the Board of Studies), with disregard for the wisdom of that legacy, intent on insisting that “one size fits all” in arts education.

Highlighting NESA’s failures

Highlighting the failure of NESA to produce robust syllabuses for review and enactment – regardless of the subject – safeguards against wrongly blaming school leaders and teachers for being solely responsible for student learning. Indeed, state level systems must provide conditions for nurturing quality education in school – a view that is applicable in all subjects.  Diminishing the performative aspects of the Arts Assessment, for example, devalues the authenticity of the courses and teaching and learning opportunities in classrooms. 

NESA’s proposed changes to the drama and music syllabuses need to be withdrawn so those with expertise and experience in the teaching of the various artforms can be used to truly create a syllabus that is inclusive, reliable and fit for purpose. 

Biographies


Left to right: Jennifer Carter is a sessional academic at the Sydney Conservatorium of Music after a career as a music teacher and head teacher in NSW schools. She was Chief Examiner of HSC Music in NSW and was a Senior Registration Officer at the NSW Education Standards Authority. She has presented at music conferences both nationally and internationally. Her PhD thesis researched secondary classroom music teachers and the development of music syllabus documents.

Matthew Harper is an early career researcher in the Teachers and Teaching Research Centre at the University of Newcastle. Matt has collaborated with colleagues on a range of research exploring student aspirations, quality teaching in schools and higher education contexts, and curriculum and pedagogy theory and development. His doctoral research compared secondary mathematics and drama in the Australian schooling context.

James Humberstone is a senior lecturer in music education at the Sydney Conservatorium of Music, The University of Sydney. He specialises in teaching music pedagogies, technology in music education, and musical creativities. James publishes traditional research focusing on music teacher worldview, technology and media in music education, and artistic practice as research. He is also a composer and producer whose music is performed in major venues around the world.

David Roy is a lecturer and researcher in Education and Creative Arts at the University of Newcastle (AUS); and was formerly a teacher for 17 years. He uses his research to inform inclusion and equity practices across Australia, with a particular focus on children with a disability, policy, and engagement with the Arts.

Dramatic setback: Why the newly drafted senior drama syllabus falls short of a quality creative arts education

The NSW Education Standards Authority (NESA) just released new draft senior Creative Arts syllabuses for Year 11 and Year 12 students, including the drama syllabus. The announcement comes as part of raft of changes following the NSW Curriculum Review, ambitiously titled Nurturing Wonder and Igniting Passion

Among the new draft syllabuses, the subject of senior drama received its first major revamp since 2009. This means that the current opportunity for enhancing drama curriculum is momentous.

This curriculum review represented a potential step towards elevating the status of drama in schools and society. Drama is, after all, is one of the most important subjects in preparing students for the world of work.  The draft review fails drama and drama students.

Your chance to evaluate

Teachers, academics and other stakeholders now have the chance to evaluate the proposed drama syllabus in a formal consultation period that ends on 20 December 2024.

However, the interim reaction among stakeholders is mostly negative. Educators are dissatisfied and disappointed. The refined content reduces rather than strengthens the learning opportunities necessary for delivering a quality drama (and creative arts) education. This issue starts at a policy level and extends well beyond the decision-making practices of any school leaders and teachers

A dramatic cut 

The elimination of the HSC Group Performance examination is the most significant notable change. What’s in its place? An internally assessed rather than externally examined ensemble piece. This shift devalues the Group Performance as a major work that requires students to collaborate to devise an original piece of theatre. 

For many teachers and students, this component of HSC drama is the preeminent experience because of the intellectual demand and corroboration of knowledge and skills in making, performing and appreciating drama. It is also a vital means to valuing actor-audience relationships and honouring communication and storytelling through the relay of meaning in real time.

The devaluing of this core component of the existing drama syllabus is a threat to the craft of drama. It produces an overreliance on prescribed content and leaves fewer legitimate opportunities to showcase the dramatic arts as intended through style or form, role and character, and structure and action. 

It also signals cost-cutting measures. Facilitating external examinations across the state of NSW is not inexpensive. But that doesn’t mean it’s not worthwhile. 

Elimination of choice

Additionally, the proposed drama syllabus eliminates choices for the Individual Project. This component of the drama course requires students to communicate a directorial vison for a key text through deep exploration and application of specialised knowledge and skills. Current project options are Director’s Folio, Portfolio of Theatre Criticism, Costume Design, Lighting Design, Promotion and Program Design, Set Design, Scriptwriting, Video Drama, and Performance. 

However, the draft syllabus cuts Director’s Folio, Lighting Design and Video Drama. These projects are three critically important parts for sustaining any theatrical tradition and the entertainment industry more broadly. 

A reduction of choice might seem small. But we cannot underestimate the value of enabling students to choose which content to pursue to nurture their creative abilities. Giving students choice in drama specifically provides a scope and flexibility that is rare among most subjects. It provides learning benefits such as skills in time-management, self-regulation, creative autonomy, and risk-taking. In a society that looks to encourage higher order thinking and creative skills, such a move is retrograde at best.

Missing the texture

The draft syllabus now states that “All Individual projects, excluding performance, will be submitted electronically to reflect industry practice and support best practice in marking processes” (see p. 9). Now, projects are packaged and posted, then sent through the mail for external examination. This process is necessary because the projects are tactile in nature; for example, costume design projects tend to use carefully chosen and delicate fabric swatches. 

Limiting the Individual Project to digital submissions impedes creative and aesthetic possibilities available to students and is a disservice to the art form. The justification that this change aligns with “industry practice” relies on using software programs that many schools simply cannot afford to purchase. And the point about “best practice in marking processes” is debatable. 

Eroding the arts by curriculum design

Unfortunately, arts subjects are usually first on the chopping block in schools (and universities). 

Recent research also reveals a worrying decline in the proportion of NSW public secondary students participating in creative arts courses in Years 10, 11 and 12. This includes dance, drama, music, visual arts, visual design, and photographic and digital media. 

But any view that arts subjects appear less popular or that students are abandoning arts subjects overlooks that they are ranked lowly in the status spectrum of school subjects. They are deliberately positioned as optional extras – ‘peripheral’ as opposed to so-called ‘core’ learning areas. This subject hierarchy means that students are rarely equipped to make informed choices about studying arts subjects (or not) due to a lack of quality learning experiences within arts subjects. 

Indeed, this curriculum context remains devastatingly unjust given a vast majority of Australian school students still have little or no access to quality arts education. It also neglects the inherent value and human need for the arts and goes against a growing body of research about the benefits of arts education. If we learnt one thing from the recent Pandemic, it was the need for all of us to engage and consume arts content in a time of isolation.

‘Revival’ of the arts in Australia?

Ironically, the federal Labor Government (2022) initiated changes on a policy front that position the arts as an important agenda. Specifically, the national policy, Revive, outlines five pillars designed to enhance the cultural ambitions of Australia over the next five years and beyond. They are:  

  • First Nations First;  
  • A Place for Every Story;  
  • Centrality of the Artist;  
  • Strong Cultural Infrastructure; and  
  • Engaging the Audience.  

These pillars provide a timely policy framework for rethinking the role of the arts in society and education, particularly for nurturing the lives, livelihoods, and wellbeing of people across the country

A degree of scepticism

However, this policy warrants a degree of scepticism. The focus on ‘revival’ conveys a need to restore resources and strategies that are deficient given deliberate attempts to erode them

The gap between national policy aspirations and the proposed curriculum changes to creative arts subjects such as drama has severe potential consequences for what students have the opportunity to learn in school, and the future possibilities available to them outside of school, in terms of employment or otherwise. 

The hearings of 2024 NSW Inquiry into Arts Education continually demonstrated the ongoing diminishment, paucity and degradation of the Creative Arts in schools; despite the wealth of talent in both staff, pupils, and the wider community. As educators we can choose to either focus on basic skills creating industrial automatons, or recognise the Arts as a key skill to empower articulate, inventive, and engaged future citizens. When students study the Creative Arts they succeed across all aspects of their education, and beyond.

Matthew Harper is an early career researcher in the Teachers and Teaching Research Centre at the University of Newcastle. Matt has collaborated with colleagues on a range of research exploring student aspirations, quality teaching in schools and higher education contexts, and curriculum and pedagogy theory and development. His doctoral research compared secondary mathematics and drama in the Australian schooling context.

David Roy is a lecturer and researcher in Education and Creative Arts at the University of Newcastle (AUS); and was formerly a teacher for 17 years. He uses his research to inform inclusion and equity practices across Australia, with a particular focus on children with a disability, policy, and engagement with the Arts.

Why the minister should act boldly on changes to schooling for children with disabilities

We should see significant changes for children with disabilities in NSW schools if the recently released recommendations by the NSW parliamentary inquiry into the education of children with disabilities are acted upon. These changes will significantly improve the lives of children with disabilities. The impact on families of NSW children with disabilities, their school communities, teachers, school executives and school systems will also be considerable.

We support the recommendations and the way funding and training for schools and staffs were highlighted in the report. However we have grave concerns the recommendations will be simply rubber-stamped by the NSW Government, as has happened with so many other parliamentary inquiries, and that nothing will change. We are worried that issues of inclusion and dealing with discrimination in NSW schools will remain for our children with disabilities.

The NSW Government and Education Minister Robert Stokes now have 6 months to provide a response as to the recommendation. So we call upon Minister Stokes to show he has moral strength as an education minister and that he is not beholden to unelected officials in the NSW Department of Education who might be advising him not to act boldly on making changes. We hope he will take this chance to be a leader for equity and justice.

The recommendations and our concerns
The purpose of the Inquiry was to make recommendations to build upon the positives for children and eliminate the some of the challenges faced for children with disabilities in the future. It came up with 38 recommendations that can be summarised into 4 key areas: inclusion, funding, training, accountability and complaints.

INCLUSION

The first recommendation is that all children should be included in mainstream education as a default. Further recommendations in the report however appear to contradict this default position through the recognition of segregated Special Schools and units

There is limited to no research that shows segregated settings have any long-term benefit. Also it should be said, Units and Special schools do not demonstrate Inclusion, it is integration at best and state sanctioned discrimination at worst. The UN General Comment No. 4 24.2 states ‘only inclusive education can provide both quality education and social development for persons with disabilities, and a guarantee of universality and non-discrimination in the right to education on the rights to an education states’.

We acknowledge that pragmatically to transfer all children into mainstream overnight would be a disaster for schools and children, however we argue a timeline and process for the closure of all these settings is required.

We also want to point out that children with specific needs cannot be moved into mainstream schooling without first changing attitudes in many mainstream school communities. Also it cannot be done without fully funding support, training and resources for the school staff, parents and children involved.

FUNDING

Ten of the 39 recommendations have a direct impact on funding issues. To implement the report recommendations, equitable and accountable funding needs to be in place.

The committee recognised that Gonski 2.0 will not meet the required needs of students, so funding needs to be found and directed as purposed for the education of children with disabilities in NSW schools.

Funding is needed for resources, infrastructure and staff release so teachers can be given meaningful, hands-on training, not just access to online units that can appear superficial.

To assist in this there is a recommendation that schools should appoint trained business managers, and that funding for children with disabilities be made public and accountable.

TRAINING

Training was seen as key to implementing changes, with 16 relevant recommendations. It is seen essential to change as a successful Inclusion policy. Staff and parents all felt additional training was required to support all learners, with attitudinal change key.

Children with a disability need to be seen as children first. Real, depth of professional development is recommended as a necessity.

‘Snake oil’ training and teaching methods with no empirical research behind them should be challenged and removed from our schools. Staff must be given time to attend training and embed their enhanced skills. Health professionals, parents and schools should work in partnership to build on the expertise they all bring to the education of children with disabilities.

ACCOUNTABILITY and COMPLAINTS.

The Inquiry had the most to say about accountability and complaints processes in relation to the treatment of children with a disability, with 19 associated recommendations.

Too many reports from NSW and across Australia demonstrate that children with a disability are being denied even basic enrolment in their local public school when first applying; and even when eventually being offered a place; are marginalised, often denied access to the curriculum and wider school events.

The gravest of our concerns is the abuse of children with disability in schools. You would not have missed the harrowing stories of abuse that were revealed when the Inquiry released its report in September.   The reaction sparked a unanimous call in the media and from organisations involved with children with disabilities, for schools, school systems and those in authority to urgently take action.

Recommendation 17 called for the NSW Ombudsman Inquiry into behaviour management in schools – August 2017 to be fully accepted and implemented. This calls for an outside committee to review complaints, and for protections against abuse and discrimination of children with a disability to be seen as a priority. There is harsh condemnation of the Department of Educations ‘investigative’ processes in relation to reportable conduct and the role that the Employee Performance and Conduct (EPAC) has played.

Real concerns remain over the Department investigating itself. Statistics must be published, staff supported, whistle-blowers protected and most importantly the most vulnerable children kept safe from abuse.

Other areas of concern

There were some under-developed areas that the report could have been stronger on. Children with a disability in some secondary settings will still be funded at Primary school level and this could be a breach of the Disability Discrimination Act 1992. The research on the role of SSPs (Schools with a Specific Purpose), with the diminished educational outcomes for children and the heightened danger of abuse potentials, could have been made more prominent. Segregated special settings should be closed to lead to full Inclusion. The flawed role of EPAC that was highlighted, but we believe that should have led to a recommendation of its disbandment with an independent Educational ICAC put in its place to safeguard all children and staff equitably.

Many parents claim to be left with no other option than to home school their child with disabilities. There is an annual increase in home schooling of around 12% a year (public school enrolments only increased by 0.9% in 2016). This has massive social, moral and economic implications for society. If children are denied an education, how can they become economic contributors to Australia in the future? If a family home schools (not through choice) they cannot work or contribute to the economy and their children receive no educational funding at all.

It all comes down to leadership

Overall what will have the greatest impact to the education of children with disabilities is leadership and attitudinal change in mainstream schools. Funding, training and processes will not be successful solutions until those in leadership at school and system levels place the emphasis on every child’s ability to learn and feel safe, rather than protecting a flawed system. Of course the leadership that matters most at the moment is that of NSW Education Minister Rob Stokes.

The Inquiry recommendations cannot heal or even investigate the allegations of abuse and discrimination of the past that initiated it. Minister Stokes can, but as of yet has done little to do so. This report gives him a chance to be a leader for equity and justice rather than just another politician saddled with the education portfolio. We want him, and his government, to be more concerned with our children and their futures than infrastructure, cutting costs and ticking boxes.

Minister Stokes and the NSW Government have an opportunity here to use this Inquiry to make the radical changes needed. Let’s see if they have the political courage to do so.

 

David Roy is a lecturer in Drama and Arts Education at the University of Newcastle. His research focuses on how we can use the Creative Arts to for inclusion and to support diverse learners, particularly those with disabilities. He has been part of examination teams in Scotland, Australia, and for the International Baccalaureate. He is the author of eight texts, and was nominated for the 2006 Saltire/TES Scottish Education Publication of the Year and won the 2013 Best New Australian Publication for VCE Drama and/or VCE Theatre Studies. His most recent text is ‘Teaching the Arts: Early Childhood and Primary (2015) published by Cambridge University Press. 


 

 

Caroline Dock is a research assistant at the University of Newcastle and a visual artist.She uses Creative Arts and Physical Education as intervention strategies for child development. Working closely with Physiotherapists, Occupational Therapists and Speech Therapists she has been developing innovative strategies to support children with ‘atypical’ disability diagnosis. Caroline regularly engages with politicians and public bodies as an advocate for the disability rights of children. Her research interests include, pedagogy, psychology, ASD and dyspraxia. Caroline’s most recent publication is Dyspraxia, Delinquents and Drama. Journal of Education in the Dramatic Arts, 19(1), 26-31.

 

Children with disabilities in schools: how we started the parliamentary inquiry and what’s happening

We were extremely disturbed by the increasing reports of children with disability across Australia being abused and discriminated against, and by what we saw as a systemic exclusion of children with disability from education.

As researchers in education and while working in schools in NSW, we have experienced first hand the issues and challenges facing children with disability and their families. We know many good teaching and support staff in our state are being burnt out and we believe deeply that fundamental attitudinal change needs to happen.

So we decided to do something about it.

We set out to meet personally with NSW parliamentarians in all parties in the NSW Upper House who were interested in the plight of children with disabilities. We organised group meetings at Parliament House, involving concerned parents and teaching staff, where we presented research and data to parliamentarians.

Our actions led to an Upper House Inquiry into Students with a disability or special needs in NSW schools which is currently ongoing.

This Inquiry, from the hearings held so far, may potentially and significantly change policy. Testimony after testimony appears to reveal a system that is failing many children, despite the best efforts of parents, teachers and schools.

Listening to the hearings, it is likely the findings might have implications for all schools and all teachers beyond the disability provision aspects.

Earlier Inquiry

The previous Inquiry into exactly the same thing in 2010 produced a set of recommendations with responses by the NSW Government. This led, in 2012, to the ‘Every Student Every School’ policy that is supported by the Commonwealth Government. This policy promised to provide extra funding for schools “to build their capabilities to meet the additional learning and support needs of students with disability”.

So it is timely that we should look at what is happening and what, if anything, has changed.

The Inquiry

The Terms of Reference are important as they guide the Inquiry, are focused on funding, the implementation of the ‘Every Student Every School’ policy, the previous Inquiries recommendations and (potentially the most challenging) the complaint and review mechanisms within the school systems in New South Wales for parents and carers.

The Inquiry is clear that its purpose is not to deal with individual complaints but with wider systemic issues and also to reflect best practice.

Problematic issues arising so far

Lack of data

The first major issues arising from the Inquiry is the lack of data available about how funding is applied and accounted for. From the hearings so far, it appears that the NSW Department of Education, as of yet, has been unable to substantially demonstrate how such funding is applied, if it is used to meet student needs.

Students refused enrolment

Multiple submissions and sworn testimony additionally report students being refused even basic enrolment at their local public school (which is a breach of multiple laws). Of course private schools often find ways to deny enrolment and they also have culpability in potential discrimination. But from evidence gathered many children and families appear to be forced into even further financial and emotional hardship by paying for expensive private education, if they can find a school that will accept them, or to home school. Riding above the arguments of the benefits or challenges of home schooling, if families undertake the option of home schooling, it should be through choice, not discrimination.

To add to the complexity of this issue is the recent release of a survey of public schools principals where principals, under pressure to accept enrolment of children with disabilities, rated the funding and support provided by the government for children with disabilities as ‘poor’ or ‘very poor’.

Flawed complaints process

Evidence over the complaints process is also emerging. Who investigates complaints? It appears that too often, the Department of Education investigates itself. Indeed it appears the NSW Department of Education often appears to appoint the very people responsible for the initial complaint problem to investigate themselves.

Labelling

The use of or lack of use of some ‘labels’ can appear to deny support to children who require support. Perhaps we should stop using medical deficit labels to define children and instead just look at the actual educational needs to target resources. This way all children will get support, whether with a diagnosis or not.

Other significant issues unfolding

There are other significant questions over serious potential ‘Reportable Conduct’ issues not being investigated, physical assaults on children being dismissed or at least glossed over, and the internal investigative body of the NSW Department of Education (EPAC – Employee Performance and Conduct) being ineffectual in supporting staff or students.

Encouraging indications

Voices are being heard

What is empowering is hearing the voices of parents and teachers and academics demonstrating best practice and what could be applied if real inclusion, rather than the increased exclusion of children with disabilities (in to Special Units) is applied.

Some schools are succeeding

Against all odds, some schools appear to be offering real support, but they sadly appear to be a minority.

What we would like to see in the recommendations

There are real hopes for the recommendations from this Inquiry.

We would like to see children fully included in educational experiences. Research after research demonstrates that learning for all students is best when children with a disability are included in mainstream classrooms as a default.

Will NSW follow the best practice of the rest of Australia and include speech therapists, physiotherapists and occupational therapists to work in and with schools?

Hopefully an independent complaints and investigative body will be set up to protect the rights of children and staff alike. Currently the system is all too similar to concerns we have heard from the recent Royal Commission into Institutional Responses to Child Sexual Abuse, where institutions investigated themselves.

Funding should be made available and used to support the students, staff and school in the area it has been allocated. Schools and systems should be accountable for the money allocated. The effectiveness of the allocations should be measured.

Teacher education has a role within this, as does the professional development of teaching staff. All Initial Teacher Training courses and professional development courses for teachers should provide embedded, detailed support strategies to support children with challenges in accessing learning.

We remain optimistic

We may seem idealistically naive to expect an Upper House Parliamentary Inquiry will make radical positive change, but all of the Inquiry’s committee members seem to be concerned, across all of the diverse political parties. We suspect the NSW Department of Education did not expect this to be such a forensic inquiry, as they came with little or no data on the first day of the hearings.

Here’s hoping the discrimination and abuse allegations of children with a disability being uncovered by this Inquiry are taken seriously and real changes will happen as a result. We can only hope.

 

David Roy is a lecturer in Drama and Arts Education at the University of Newcastle. His research focuses on how we can use the Creative Arts to for inclusion and to support diverse learners, particularly those with disabilities. He has been part of examination teams in Scotland, Australia, and for the International Baccalaureate. He is the author of eight texts, and was nominated for the 2006 Saltire/TES Scottish Education Publication of the Year and won the 2013 Best New Australian Publication for VCE Drama and/or VCE Theatre Studies. His most recent text is ‘Teaching the Arts: Early Childhood and Primary (2015) published by Cambridge University Press. 


 

Caroline is a research assistant at the University of Newcastle and a visual artist.She uses Creative Arts and Physical Education as intervention strategies for child development. Working closely with Physiotherapists, Occupational Therapists and Speech Therapists she has been developing innovative strategies to support children with ‘atypical’ disability diagnosis. Caroline regularly engages with politicians and public bodies as an advocate for the disability rights of children. Her research interests include, pedagogy, psychology, ASD and dyspraxia. Caroline’s most recent publication is Dyspraxia, Delinquents and Drama. Journal of Education in the Dramatic Arts, 19(1), 26-31.