Reading for pleasure, public libraries, and voices at the margins

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By Dr Anish Harrison and Professor Alpesh Maisuria

In November 2025, we submitted written evidence to the House of Commons Education Select Committee inquiry into “Reading for Pleasure”. The inquiry comes at a critical time with national data showing that children’s enjoyment of reading is now at its lowest level since records began in 2005 (NLT, 2025).

The Committee’s review sits alongside the Government’s announcement of 2026 as the National Year of Reading, led by the Department for Education and the National Literacy Trust. Framed as a chance to “kickstart a reading revolution”, the initiative recognises that reading for pleasure matters, not only for attainment, but for wellbeing, confidence and personal satisfaction. However, unless we listen to the experiences of children and families who are least engaged in reading, these ambitions risk falling short of being realised.

From thesis to Select Committee evidence

Our submission draws on doctoral research by Dr Anish Harrison, Voices at the margins: An exploration of the perceptions of ‘vulnerable’ children, their families’ and library professionals regarding reading for pleasure and public libraries. This was Anish’s EdD submission, taking a case-study approach and framed from a critical ecological perspective.  

The research explores how children and families from different demographics, including Children Looked After, children from diverse backgrounds and those in areas of high deprivation experience reading for pleasure.  It also examines the role of public libraries within this context, critically exploring its socio-historical formation and current situation that includes being a critical mechanism for reading to take place.

The study worked with children, parents and library professionals, including early years children, primary-aged readers, and young people in care. The data generated clearly highlighted that reading for pleasure is not an individualised, uniform, and silent activity. It is social, playful, emotional and deeply shaped by environment and opportunities.

One child put it simply:

“I like reading… I just want a book that I like, like comics and that …  not boring old smelly books.”

Their words challenge narrow ideas of what counts as reading, and whose preferences are valued.

Real world reading for pleasure

Across the research, children described enjoyment when they had choice and agency, but in the context of several factors: choosing and having access to a range of materials, reading with others, having inviting spaces to read and engaging with texts that reflected their interests and identities. Reading often happened alongside play, including Lego world-building, role play, and digital media.

The research found that public libraries played a crucial role in making this possible. For many families, they provided a free, welcoming “third space” beyond home and school, where reading was not assessed, timed, or in any way pressured – simply joyful. Libraries enabled shared reading, supported parents who lacked confidence, and gave children access to a wider range of books and formats than were available at home. 

An ecological model was created through the data, which reflected children’s reading for pleasure needs:

However, significant barriers were also identified. Parents spoke about time-poverty, long-working hours, and uncertainty about how to support reading. Some assumed reading was ‘something [that the] school does’ but at the same time, participants noted that school practices undermined enjoyment. For older children, reading was associated with pressure rather than pleasure.

Importantly, structural inequalities were present in what was seen as ‘legitimate reading’. These barriers prohibited the growth of children’s identity as readers, creating significant barriers to enjoying reading for pleasure.

Libraries under pressure

At the same time as reading for pleasure declining, public libraries have faced sustained budgetary cuts. Reduced opening hours, loss of professional staff, and fewer children’s activities have made access increasingly uneven. Library staff told us of high demand for story times and reading-related events, but diminishing capacity to deliver them.

Despite this, public libraries remain places of belonging. When these spaces were informal, well-designed and social, families felt welcome and reading for pleasure flourished. Conversely, where they were large, formal, or understaffed, some participants in the study felt excluded by the coldness.

Why reading for pleasure matters now

The evidence is clear: reading for pleasure supports who children grow as human beings. In the research, it created joy, connection, self-understanding, meaning-making, and confidence in lives shaped by scarcity and pressure. The opportunity to submit to the Education Select Committee was timely and ensured the thesis could have the potential for real-world impact. 

Our evidence-informed submission to the Select Committee makes five key recommendations:

  1. sustained investment in public libraries;
  2. recognising libraries as strategic partners in literacy policy;
  3. actively promoting library services during the National Year of Reading;
  4. adopting minimum service standards; and
  5. broadening definitions of reading for pleasure to reflect children’s reading realities.

If the National Year of Reading is to succeed, it must start by listening to voices at the margins. Public libraries are not a nostalgic extra, they are essential infrastructures for equity, enjoyment, and flourishing.

Inclusive climate education: a call to action from additional learning needs and alternative provision settings

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By Dr Verity Jones, Associate Professor in Education

This week sees the publication of the Climate Change and Sustainability Education in Additional Learning Needs and Alternative Provision Settings report, authored by Shannon O’Connor, Dr Jennifer Rudd, Dr David Thomas, and Bryony Bromley. Drawing on research from 26 additional learning needs (ALN) settings across Wales and a micro-Delphi study, the report highlights urgent gaps in resources, training, and support for educators working with learners who are often excluded from mainstream sustainability discourse.

As co-leads of the Education and Childhood Research Group’s Sustainability Strand at UWE Bristol, myself and Dr Tessa Podpadec welcome this report’s publication. It aligns closely with our commitment to embedding climate and sustainability education across diverse educational contexts, and particularly with our work on inclusive pedagogies that centre learner agency, creativity, and justice.

The report’s findings reinforce our belief that sustainability education must be differentiated – not diluted. Learners  deserve access to meaningful, age-appropriate content that reflects their lived experiences and capacities.

These themes resonate strongly with the work that Tessa, Dr Jon Mulholland and I have been developing at Sparks, Bristol with Global Goals Centre, a sustainable education hub where we have been working with special educational needs settings. At Sparks, we’ve explored how young people engage with sustainability through sensory-rich, place-based and creative approaches – from growing food and cooking with seasonal produce, to crafting with recycled materials and engaging in community-based environmental action.

These activities not only support curriculum goals but also foster a sense of belonging, purpose, and ecological connection among learners who may not otherwise see themselves reflected in climate narratives.

The report calls for:

  • A national bank of ALN-specific CCSE resources
  • Dedicated CCSE networks for ALN educators
  • Sustainability embedded across all Areas of Learning and Experience (AoLEs)
  • Easier access to ALN-friendly school trips and experiential learning.

These recommendations align with our Strand’s goals to support practitioner-led workshops and collaborative research that foreground inclusive climate pedagogies.

As Wales moves toward its net-zero targets, and as the curriculum for Wales embeds sustainability across all AoLEs, greater emphasis needs to be made to ensure that no learner is left behind. This report offers a roadmap for doing just that in Wales and beyond -and we encourage colleagues across education, policy, and research to engage with its findings. 

School Art: Where Is It? A (re)exploration of the visual arts in secondary schools

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By Dr Will Grant, Associate Director of the School of Arts, UWE Bristol, and ECRG member


This blog post is a brief, informal introduction to the report School Art: Where Is It? (Fursman, Grant, & Wild 2024), which I recently co-authored with colleagues from UCL and Birmingham City University. The report revisits work undertaken by Dick Downing and Ruth Watson in their 2004 School Art: What Is It? report, and asks what has changed in the pedagogy, curriculum, and assessment of the visual arts in secondary schools over the preceding 20 years.

In 2004, Tate Gallery and the National Foundation for Education Research did something unusual. They decided to fund research into the substantive content of secondary school art classrooms, with a particular concern for engagement with contemporary arts practice in the sector. Given the brevity of the National Curriculum entry for Art and Design at the time (2003), it was very difficult to otherwise guess, without taking the time to ask, what rationales, pedagogies, and curricula art teachers across the country might be activating.

The resultant report, School Art: What is It? (Downing and Watson 2004), while adopting a loose methodology that might best be described as illustrative, became a defining record of practice typical in secondary art education that has persisted as a reference point across the decades following. Among its many observations, the report tells of very high levels of teacher agency, where individuals or collegiate departments of art teachers might take inspiration from a local gallery exhibition or their personal artistic practices, and others who centred curriculum on celebrating pupils’ opinions, creating safe spaces to build pupils’ self-belief. It also suggested that canonical artistic references were commonplace, predominately early 20th century sources assessed on technical accessibility. These references were very narrow, with only one non-European/American artist mentioned at all (Ana Bella Geiger), and only two further female artists noted in conventional school curricula (Georgia O’Keefe and Bridget Riley) across the interviews. In one comment especially memorable from my first encounter with the report (as a progressively-minded pre-service teacher), the authors note that:

Having referenced this report in our work in pre-service teacher education and within our individual research activities for many years, Carol Wild (UCL), Jo Fursman (Birmingham City University), and I decided it would be a worthy exercise to repeat the School Art report twenty years after its original publication. We wanted to both pay homage to this rare example of empirical data collection in art classrooms and simultaneously explore the changes that may have occurred over the preceding decades. We knew, from our own experiences in the classroom, that a lot of contextual factors remained the same in 2024 as in 2004 – a National Curriculum (2013) of limited operational value, a lack of expendable art materials, and a tension between artistic freedoms and increasingly conformative pedagogic and assessment policies (Grant 2023). However, there had clearly been huge political, technological, and disciplinary shifts over this period, and we knew research into how these changes have impacted on English secondary school art education was extremely limited. It felt somewhat ridiculous that pre-service art teachers were still being asked to reference source material on ‘contemporary’ classroom practices published before they were born!

We replicated the methods of Downing and Watson as accurately as possible – not for the sake of scientific rigour (the data set too small and rich to bear out any meaningful statistical comparison), but to create reflective connections between then and now. Therefore, we went about interviewing 36 secondary school teachers of art from over 30 different schools, asking identical questions of their curriculum, its content, and influences. In our writing, we directly borrowed structure and phrasing from the first report, producing a palimpsest that could be considered an iterative companion piece to the 2004 publication.

In our report, School Art: Where is it? (Fursman, Grant & Wild 2024), we present in a dispassionate voice a record that we hope other researchers, writers, advocates and practitioners will assess as fair reportage on the nature of secondary school art curriculum content in 2024. We followed in the philosophy of the first report – seeking not answers, but ‘questions that might be worthy of addressing’ (Downing 2005, 275). Given some of our findings – the ahistorical persistence of ‘formal elements’ as uncontextualised framework for normative curricula, a collapse in professional agency (especially among early career art teachers), and a significant decline in sculptural practices – it was tempting to err into commentary critical of policy, paradigm, or practitioners’ priorities. This was especially true where our own research assumed a critical stance on school orthodoxies (Grant 2020, Wild 2013) but we knew the enduring value to the field of Downing and Watson’s (2004) report was its subtle, observational neutrality.

Aside from the concerns that might be drawn by some readers of School Art (2024), there was also much that might be celebrated in the voices of our interviewees. We found a deep, unanimous sentiment among art teachers that curriculum diversification was an urgent mission, and evidence that this intent was starting to manifest in classrooms (in 2024, 35% of the artists mentioned by interviewees as featuring on their curriculum were female). We also saw photography and digital media emerging, and an interest among teachers to employ contemporary artworks to open paradigmatic questions about the nature of art practice with their pupils.

As authors, we have been delighted to receive so much public interest in a report that was initiated from personal curiosity. It has been used, directly, as evidence of contemporary arts provision in the DfE’s ongoing Curriculum and Assessment Review, and we will be discussing the report further at a panel event during the National Society for Education in Art and Design’s annual conference on 19 June 2025.

References

  • Department for Education (2013) Art and Design Programmes of Study: Key Stage 3, National Curriculum in England. Department for Education; London.
  • Downing, D. (2005) School Art – What’s in it?, in The International Journal for Art and Design Education, vol. 24, no. 3, pp. 269-276. https://doi.org/10.1111/j.1476-8070.2005.00450.x
  • Downing, D. & Watson, R. (2004) School Art: What’s In It? Exploring Visual Arts in Secondary Schools. National Foundation for Education Research; Slough. Available online here: https://www.nfer.ac.uk/publications/school-art-whats-in-it-exploring-visual-arts-in-secondary-schools/ (last accessed 10th April 2025).
  • Fursman, J., Grant, W., & Wild, C. (2024) School Art: Where Is It? (Re)exploring Visual Arts in Secondary Schools. National Society for Education in Art and Design; Corsham. Available online here: https://www.nsead.org/resources/research-reports-and-reviews/school-art-where-is-it-2024/ (last accessed 10th April 2025).
  • Grant, W. (2020) Liberal ideals, postmodern practice: a working paradox for the future of secondary school art education in England?, in The International Journal for Art and Design Education, vol. 39, no. 1, pp. 56-68. https://doi.org/10.1111/jade.12228
  • Grant, W. (2023) Protecting Transformative Optimism in the Art Classroom: Exploring Aspirant Art Teachers’ Shifting Ideals. EdD Thesis: University of Glasgow. Available online here: https://theses.gla.ac.uk/84006/ (last accessed 10th April 2025).
  • Qualifications and Curriculum Authority (2003) The National Curriculum Programme of Study: Art and Design Key Stage 3. QCA; London.
  • Wild, C. (2013) Who Owns the Classroom? Profit, Pedagogy, Belonging, Power, in The International Journal of Art & Design Education, vol. 32, pp. 288-299. https://doi.org/10.1111/j.1476-8070.2013.12029.x

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