Arts and Cultural Education in Iceland : Professor Anne Bamford

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The first vignette (1.9.2) is of a small preschool in a rural location. The director of the preschool has undertaken additional study in the arts and is influenced by the Reggio Emilian approach. She believes that the children are the happiest when they are doing the arts. Vignette 1.9.2 We do something with the arts at least once a day There are 15 children in the centre and they range from 1 to 4 years of age. We do a lot of instrument work – percussion, xylophone, drums, and shakers. We also play music when they are working. The children do a lot of dance. And of course there is a lot of singing… singing with actions. We do something with the arts at least once a day. We encourage the children to try everything. Painting (including with fingers and with brushes); lots of play dough and clay; cutting with scissors. We don’t have any space to do the arts, so the teachers have to put out the materials. Sometimes the activities are structured from the teacher, but I would prefer it if the children could decide. We don’t really look at art works and we don’t go on visits because it is too expensive. I was trained as a nursery teacher, but I did an extra course about art over the summer. I get ideas from the internet, books and other schools. Actually I get ideas from everywhere. I always put up the children’s work on display but we don’t do any performances. There are some festivals we get involved. We do professional development. We get 4 days per year. We can also apply for extra support from the unions. Every third year we go to Reykjavik. I went back to college to get more training. It was really helpful. I got more ideas and theoretical underpinnings. I also learnt how to more effectively work in groups. We get most of our materials for free. Local companies give us things. We take the children on lots of walks around the local community. For example, we looked at plants and that led to lots of arts. The children are always happy when we do the arts. The children do a lot of make believe (costumes and props). We do not have a specific philosophy but we are influenced by the Reggio Emilian approach. The following vignette (1.9.3) is of a preschool with a very strong community focus. The preschool believes in the value of children’s artwork being publically displayed. The preschool also supports visiting artists as part of their curriculum. Vignette 1.9.3 Our school has a special philosophy of working between culture and society We tried to embed the arts in everything we do in the school. Our school has a special philosophy of working between culture and society. We take the children out a lot and we cooperate with the local old people’s home. We try to involve the parents too. We do storytelling with the community. They tell you everything about what it was like. We also go to farms and do story walks and we value real life experiences. At least every second week we are going somewhere. The cultural house is next to the school so we are very lucky. We go there at least three times a year and they do a special programme for us as they have a very good education person. There are paintings but it is not really a gallery. The children’s work goes to the bank and we exhibit in the local area, such as in the post office. The theatre group comes to the school once a year and we try to take the children to the theatre too. We have a puppet maker that lives close to us and he makes puppets with the children, we have to try and keep the costs down. The children learnt different traditional old dances. Each week they had a professional dancer come 30
here, it is a good cooperation. We paid for the dance teacher but they had a lot of fun, it is part of a three year cultural project and we include it in the big evaluation of the school. We use the evaluation to generate a plan. We regularly evaluate each other’s work each semester as they were worried creative things were not being evaluated but now we want to share it with parents and teachers. We found it to be valuable to share our school plan with the whole school community. We are producing a book of the plan including our philosophy explaining to the parents why we do things as we do it. I think when it is in the book this fumes interest. They browse through the book and then they want to discuss things with us. We also hold some regular festivals. The professional development of our staff has also been part of the plan. A lot of our teachers are not qualified so we have encouraged them to do their diplomas via distance learning; we decided this was important in our five year development plan. We have also employed a reading specialist and we have 15 percent less teaching than other school to promote professional development. Parents have to personally pay for their child to come to this school on top of all the government funding. We will need to increase the level of payment for next year, twice a week a music teacher comes in and we have cooperation with a music school. The music school teacher comes in twice a week and we work with the children. We have two groups for the five year olds and one group for the four year olds. We ask the parents to pay a top-up fee for these music lessons; they pay roughly 25 to 20 percent of the total costs. For example one hour cost about 2530 ISK and we times that by eight to give the monthly fee and that includes everything. We give a 30 percent discount though to single parents. We all want to do creative stuff and even though we are doing it we want to do more and therefore we try to do something new each year. We want to combine experiences and work with more creative experiences. Every spring they have a festival in the school where we exhibit and perform and we always do something artistic for these, then we call it a cultural festival. But I think training in the early years is a big problem there is not enough experience. What we do is take a book and work through that or we may take a nation as a theme and work through that. We try to involve parents as much as possible in our theme. The following preschool (vignette 1.9.4) has a large enrolment (140 children). The preschool has a strong commitment to the arts and also a focus on environmental and imaginative education. Every child has a portfolio that is used to evaluate the children’s progress and record their achievements in a rich and vibrant manner. The school works actively with other preschools to increase creative learning. The staff bemoaned the lack of continuing professional development courses (in-service courses) that allow teachers to develop skills in teaching creatively with the arts. The director was also critical of the reductions in preschool teacher’s pre-service training in terms of artistic and communication development. Vignette 1.9.4Almost everything we do is arts related There are 140 children in the preschool. The centre is based in a lower income area with a number of young families. The pre-primary school adopts an experimental method believing that children learn from doing. They make a lot of use of the immediate environment and also the nearby forest. The children are encouraged to access their own resources, and despite being very young, the children are confident with glue, scissors and pencils. They have music teachers on the staff and music and dance are very important. They make their own instruments and use locally found and available materials. They have at least 3 hours per day outside play. The children do group singing for 15 minutes throughout the day. Classical music and fairy tales also play while the children play and work. They have a parents' day 4 times a year and women’s and men’s days twice a year. They keep a portfolio of every child’s progress. Although there is a compulsory school next to the pre-primary school, they have struggled to build a closer connection with the school. The pre-primary school head teacher explains, “We do not do enough visits to the compulsory school. They do not have enough time for us. They have very strict timetables”. Each year the Parents’ Association pay for a children’s performance group to come to the school. These professional performances usually cost around 40,000 ISK. The parents choose the play or performance. We have introduced photography into the school. We take the children around the area a lot too. The bus is free so we go to amateur theatre, the library and the symphony. You have to make the best of what is around you. Our parents are very supportive. 31
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 and 26: primary level exceptional students
Page 27 and 28: ‣ Schools and colleges should be
Page 29: Increasingly, schools are becoming
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
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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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