As one of the fundamental elements of the curriculum, arts education incorporates quite some responsibilities and missions(Chalmers, 1996). In the Asian context, the primary value of arts education, especially during childhood, has been seen as individual self-expression(Meleisea, 2005). On the other hand, in the European context, it centres on lifelong learning while reinforcing European values and contributing to building cohesive societies(Commission, 2019).  In the school system, arts education is considered to have a myriad of effects, including instrumental, psychological, communicative, innovative, and creative goals(Bamford, 2006). Nevertheless, the idealized expectations of arts education fall short in fully explain the real impact of arts practice within schools, particularly in times of crisis and uncertainty. Previous research measures the ‘impact’ of arts in schools(Harland et al., 2000). In this study we focus on exploring the lived experience of participants in the school context, going beyond quantifiable outcomes to explore and understand the actual school engagement with the arts, specifically in China’s secondary schools.

In this study, the following research question is addressed: What are the expectations and experiences of different participants in school arts practice? The goals are to understand the components of school arts education practice, to know the expectations that different participants have for the arts courses and activities offered by schools, and to unpack their perspectives on school arts education practice. 

This study adopts a case study approach(Hamilton & Corbett Whittier, 2012) to thoroughly explore the lived practices of art education in specific schools, with the aim of gaining a comprehensive understanding of art education in the Chi-nese context. The primary selected schools are two city-administered schools in the Tong'an district of Xiamen City. The school arts education in this region is at a moderate level (based on the National Academic Proficiency Test Sampling), indicating that the performance and standards are relatively average. However, due to disparities in regional economic development and resource allocation, the level of education in China varies geographically. Therefore, while these schools may not be representative of all schools in the country, this case study contribute to a nuanced understanding of the broader educational landscape in China. Our research involved non-participant observations in schools of various events, including open classes, choir competitions, New Year's Eve galas, exhibitions, after-school arts group events, and student rehearsals. At the same time, we col-lected documents, reports, and social media posts about arts education in schools. We also interviewed 30 participants in arts education in schools, includ-ing 13 art teachers, 14 music teachers, 2 principals, and 3 district researchers. Through NVivo, we conducted a thematic analysis of the collected data and start-ing from the approach of grounded theory.(Charmaz, 2017; Glaser & Strauss, 1967). Letting the data speak for itself, our method follows the inductive path to uncover the insights that emerge with the participants of school arts participants.

Preliminary results: In the findings, we will first provide an overview of school practices related to arts. Formal courses in schools and various informal activities collectively contribute to shaping arts education in schools. The systematic scheme of arts practices remains consistent across schools, where competitions serve as primary events, aligning with instructional (political and moral educative) aims and themes in the school setting. In general, schools offer a se-ries of art-related activities with which students can actively engage in, however, it remains subordinate to the exam-centred nature of schooling, and the allocated time is very low. According to the interviews, utilitarianism and the so-called 'Rat Rate' are criti-cized for hindering arts education in China’s schools. The art curriculum is somewhat neglected in schools. While students find enjoyment in these courses, they perceive art curriculum as a form of entertainment and a means of catharsis for emotional expression. From the perspective of art teachers, they anticipate that arts activities will engage students in enhancing aesthetic tastes and appreci-ation. Remarkably, all the teachers emphasize that joy is the ultimate goal, espe-cially in the post-COVID times when student are now spending more planned time in school. From the perspective of school administrators, there is an empha-sis on arts education due to the governmental 'aesthetic turn' reflected in policies. However, these efforts face challenges due to societal and parental ideals that impose restrictions.

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