Arts and Cultural Education in Iceland : Professor Anne Bamford

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more of a say in youth club”) but they do appear to provide a stimulus for a number of student generated initiatives. Figure 1.7.1 shows the stated representation on boards in various types of Icelandic school systems and compares these with the presence of a student association or similar. Figure 1.7.1: Board membership by type of school / other pupil involvement by type of school Dance Schools Music schools 1.8Arts education in schools ‣ Teachers are generally well-qualified, but there is a shortage of qualified teachers in more remote areas, especially in the field of music in the general school 26
‣ Schools and colleges should be encouraged to display students’ work more professionally In the compulsory school (6-16 year old pupils), in most cases, specialists teach visual arts, textile, wood craft, music and – where available – dance. In the upper secondary school, teachers with specialist training teach all the arts, craft, design and cultural subjects. Specialist teachers are generally very well qualified having either a first degree in their chosen art form and a post-graduate diploma or degree in education; or a general education degree with a major specialization in their chosen art form. Even in preschools, specialist teachers are employed in the arts (especially music and visual arts) at a very high level, according to international standards. In Figure 1.8.1 it can be seen that music and visual arts are quite regularly taught by specialists. Figure 1.8.1 Specialist teachers in the preschool A small number of teachers in the arts subjects in the compulsory school are unqualified. This is most likely to be the case in rural areas or areas where staffing of positions may be more difficult. Generally though, even the teachers without formal qualifications are considered by the school leadership to be experienced, enthusiastic and committed. A number of the ‘unqualified’ teachers may also have significant industry experience (for example, they may be carpenters, designers, professional artists or musicians). Despite the overall high standard of teachers, there appears to be a shortage of music teachers trained and confident to teach music within the compulsory school context (as opposed to after school music schools). Music teachers find the challenges of teaching a whole class and more general music education to be a less attractive options than teaching in specialized music schools, so there is a drain away of qualified teachers from the compulsory school sector to the after school music school. Teaching in the Music Schools is preferred to teaching in the general school as teaching is generally on a one-to-one basis and with more favourable ‘physical’ and cultural environments for music education in the music schools. The teachers interviewed in this research appeared committed, with many examples evident of teachers working in excess of school hours and also staying after school to do extra activities such as choir classes, festivals and theatre productions. By international standards, the schools are well-equipped and effectively organised. Classrooms in the many schools visited were attractive, light and well-maintained, with computers and other technology readily available. The schools visited had good-sized halls, or similar spaces suitable for holding performances and exhibitions. Most schools have specialist art rooms, including wet areas for painting, music spaces and/or flexible project spaces. Schools 27
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 and 10: practices, but in reality there are
Page 11 and 12: Chapter 1: Introduction and overvie
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: primary level exceptional students
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
Page 47 and 48: We had a great show. The teachers d
Page 49 and 50: lot of satisfaction out of the proc
Page 51 and 52: Chapter 2 World Benchmarking 2.1 In
Page 53 and 54: Chapter 3: Responses to quality 3.1
Page 55 and 56: Figure 3.2.1 Compulsory school coll
Page 57 and 58: In the survey, dance schools report
Page 59 and 60: The school is participating in the
Page 61 and 62: visitors. The diverse and ‘quirky
Page 63 and 64: A smaller group of girls performs a
Page 65 and 66: Figure 3.3.6 Pupil performances in
Page 67 and 68: way the children’s artworks were
Page 69 and 70: has always been and it is 20 or 30
Page 71 and 72: ‣ Funding should encourage risk t
Page 73 and 74: music sector could be less constrai
Page 75 and 76: Conversely, the accessibility of ou
Page 77 and 78:
Vignette 3.7.4 Every day there are
Page 79 and 80:
Despite the geographical challenges
Page 81 and 82:
In visual arts we mainly assess acc
Page 83 and 84:
We try to do professional developme
Page 85 and 86:
This vignette from an academic in t
Page 87 and 88:
in offering adult education. Other
Page 89 and 90:
demanding more of our schools and t
Page 91 and 92:
It was argued that the arts may not
Page 93 and 94:
(teacher a professional photographe
Page 95 and 96:
There is a lot of respect amongst p
Page 97 and 98:
“The popularity of pop music is g
Page 99 and 100:
Others would argue that the connect
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interrelationship with nature and c
Page 103 and 104:
From this summary, it can be seen t
Page 105 and 106:
training of senior secondary arts t
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Vignette 5.2.4 Our selection proces
Page 109 and 110:
There is a lack of connection betwe
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During the research, various school
Page 113 and 114:
The following sections are other as
Page 115 and 116:
For older pupils, there are electiv
Page 117 and 118:
Before I came here no-one was doing
Page 119 and 120:
Creative and cultural industries Mo
Page 121 and 122:
While the previously listed recomme
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