Arts and Cultural Education in Iceland : Professor Anne Bamford

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Quality arts education programmes have impact on the child, the teaching and learning environment, and on the community – but these benefits were only observed where quality programmes were in place. By world standards, Iceland has very high quality arts education that is valued by parents and pupils and is given a core position within Icelandic society and education. Given the level of support for this research and the open and enthusiastic attitude and dedication and determination of the Icelandic education and arts community the future looks very promising. Recommendations There are 5 major recommendations from this research: 1. Policy and implementation 1.1 Media education should be further developed 1.2 Clear lines of learning need to be developed for the arts to cover all a child’s education 1.3 More integrated, creative learning through the arts be promoted 2. Collaboration and sharing 2.1 Moneys should be specifically tied to sharing good practice 2.2 Stronger partnerships with the creative industries should be developed 3. Accessibility 3.1 A committee should be formed with the specific task of encouraging diversity and monitoring issues of accessibility 3.2 Music schools need to more specifically address children with special needs 4. Assessment and evaluation 4.1 Strategies for assessment and evaluation are very limited within arts and cultural education and this area needs further research and development 4.2 Simple models for determining quality in arts education need to be developed and applied 4.3 Data needs to be collected on the economic, social and cultural impact of the creative industries in Iceland 5. Teacher education 5.1 A review of teacher education is currently underway and the results of this research and other research needs to urgently be enacted to improve teacher education in the arts 5.2 Closer monitoring of the quality of arts and cultural education within initial teacher education is required 5.3 More post-graduate places need to exist for professional degrees for practicing artists (across music and all the art forms) and teachers (at all levels) to enhance their qualifications in creative and cultural education. 10
Chapter 1: Introduction and overview 1.1 Introduction In 2008-09 an impact evaluative research was undertaken in Iceland to gather comprehensive data about the extent and quality of arts and cultural education in Iceland. The evaluation focused on the following questions: 1. What is being done in arts education and how is it being done? 2. What is the quality of arts education in Iceland? 3. What are the possibilities and challenges currently and into the future? These questions were addressed through the use of an intensive six month study using a combination of qualitative and quantitative research methods. The report is organised in a way that starts from definitions of terms and the nature of practices. The research analyses the implementation framework of arts and cultural education and identifies factors that influence the adoption of best practice in arts and cultural education. The focus of the research was on both formal and non-formal provisions of arts and cultural education. In the context of Iceland, this includes arts and cultural education within schools and also the activities completed by children in a range of after school possibilities, including music schools, arts schools, local theatres and museums and other providers. The research also investigated provisions in nursery years and for children with special learning needs. Implementation issues were also explored, and a focus was given to teacher education and the professional development of both teachers and artists. The research also examined the economic dimensions of the creative and cultural industries in the context of recent, broader changes political and economic conditions in Iceland. This research is linked to the international evaluation of arts education conducted in 2006 for UNESCO 1 and mirrors the subsequent in-depth country studies conducted in Denmark, Flanders and The Netherlands. To build a benchmarked set of knowledge, complementary methods have been used for these studies and the same framework has been applied to data gathering and analysis of themes to enable international comparisons to be made. 1.2 Scope The research was led by Professor Anne Bamford, Director of the Engine Room at University of the Arts, London. During the in-country study, the Ministry of Education, Science and Culture provided logistical support. Jón Hrólfur Sigurjósson provided contextual leadership, translation and document and policy interpretation. The research commenced in October 2008 and the data gathering was completed in March 2009. In total, 214 people were interviewed and/or participated in focus groups and 47 schools and organisations were visited. The participants came from all stakeholder sectors and included civil servants, politicians, school principals, teachers, cultural coordinators, industry representatives, cultural institutions, students, artists, teacher educators, professors, performers, members of the media, parents and the museum and gallery sector. An internetbased survey was sent to all schools – including ‘after school schools’ in Iceland to gather 1 Bamford, A (2006) The Wow Factor: Global research compendium on the impact of arts in education. Waxmann, Műnchen. 11
Page 1 and 2: Arts and Cultural Education in Icel
Page 3 and 4: Acknowledgements This research woul
Page 5 and 6: Helga Rut Guðmundsdóttir Helgi Vi
Page 7 and 8: 5.4.2 Talent developement..........
Page 9: practices, but in reality there are
Page 13 and 14: school type to which the comment re
Page 15 and 16: A future study could examine specif
Page 17 and 18: The number of pupils with a foreign
Page 19 and 20: pre-primary school teachers were so
Page 21 and 22: Figure 1.5.3: How useful is the Nat
Page 23 and 24: The conclusions from this report in
Page 25 and 26: primary level exceptional students
Page 27 and 28: ‣ Schools and colleges should be
Page 29 and 30: Increasingly, schools are becoming
Page 31 and 32: here, it is a good cooperation. We
Page 33 and 34: In terms of suggested improvements
Page 35 and 36: There are 300 hundred pupils in thi
Page 37 and 38: Figure 1.12.2 Accessibility of the
Page 39 and 40: e active in a range of local profes
Page 41 and 42: schools have waiting lists of child
Page 43 and 44: Going to local schools… well we t
Page 45 and 46: in theatre. The students really lov
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visitors. The diverse and ‘quirky
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A smaller group of girls performs a
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Figure 3.3.6 Pupil performances in
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way the children’s artworks were
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has always been and it is 20 or 30
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‣ Funding should encourage risk t
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music sector could be less constrai
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Conversely, the accessibility of ou
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Vignette 3.7.4 Every day there are
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Despite the geographical challenges
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In visual arts we mainly assess acc
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We try to do professional developme
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This vignette from an academic in t
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in offering adult education. Other
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demanding more of our schools and t
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It was argued that the arts may not
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(teacher a professional photographe
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There is a lot of respect amongst p
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“The popularity of pop music is g
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Others would argue that the connect
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interrelationship with nature and c
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From this summary, it can be seen t
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training of senior secondary arts t
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Vignette 5.2.4 Our selection proces
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There is a lack of connection betwe
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During the research, various school
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The following sections are other as
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For older pupils, there are electiv
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Before I came here no-one was doing
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Creative and cultural industries Mo
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While the previously listed recomme
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Arts and Cultural Education in Iceland : Professor Anne Bamford

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