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.